63 25 1555 https://s3.amazonaws.com/omeka-lplks/original/cba797bbf3cd34c91d2e3884bc7a8f9e.pdf b3f04c3870affef217e1919fa88e7d7c PDF Text Text ������������������������������������������������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource You Are Local History Community Digitization Project Subject The topic of the resource Lawrence (Kan.) Description An account of the resource The You Are Local History community digitization project aimed to collect and digitize objects that tell stories about Lawrence, in order to create a more diverse and representative history of Lawrence. Objects were collected and digitized throughout June and July of 2018, with a community digitizing event on June 30th. Members of the Lawrence community donated photographs, videos, posters, t-shirts, mementos, trinkets, ephemera, texts, and other objects to be included in this digital archive. Date A point or period of time associated with an event in the lifecycle of the resource 2018 Publisher An entity responsible for making the resource available Lawrence Public Library Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Micromag Issue #6 Creator An entity primarily responsible for making the resource Tangeman, Anne Contributor An entity responsible for making contributions to the resource Deck, Bob Harrison, Jon Timmons, Andy Rogers, Shelley Description An account of the resource Sixth issue of Micromag, a Lawrence zine circulating in the 1990s featuring interviews, reviews, short articles, coverage of recent concerts, and Lawrence business advertisements. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lawrence (Kan.) 1997 Date A point or period of time associated with an event in the lifecycle of the resource 1997 Format The file format, physical medium, or dimensions of the resource 4x6 Language A language of the resource eng Identifier An unambiguous reference to the resource within a given context MicromagIssue61997.pdf Rights Information about rights held in and over the resource Copyright Anne Tangeman, 1997. Please contact the copyright holder for permission to use this item. The item may also be subject to rights of privacy, rights of publicity and other restrictions. Subject The topic of the resource Zines Lawrence (Kan.) -- History Type The nature or genre of the resource Text https://s3.amazonaws.com/omeka-lplks/original/1eddb18da81b227febcd04e1344f3238.pdf 46efab06ea340f83807a1c2b5f5e3a73 PDF Text Text Learn Art At Home With �• ::r 0 ii ..,::r• t \attStm-D \'W.IST! Ht '•• �contents No Hit Wonders Micromag Special Report Bartender's Tip Backtrack Consuela's Double Whammy Guitar Wolf Joan Jett The Great Outhouse Massacre Live Show Photos In Defense Of... Garageshock 1997 Photos Lookout 1oth Anniversary Show Laura's Comic The Fells You Can't Hide Your Love Forever Micromag Soapbox Art Chantry Micromag Talent Test Backstage Pass Wassup 0 ' . ~Vb~c.t 1.···.·•·.• .· .. ·&{Q)~ ·•. ·. ·.. . .. ··,· : .ii~ .•... ,.s~'f. Luscious Jackass Is allve and well In the Land of the Rising Sun. lllustratlon by Craneboy. Contributors Bob Deck, Anne Tangeman , Jon Harrison , Leny Brinkman, Brandon Burke, Bob Cutler. La ura Sink, Grant Lawrence , Kory Willis , Jacki Becker, Brian Mar..hall Stacks , Angus McWhorter, Jon Bruni. Adam Mansfield , Joel , Justin Baldwin C 1998 micromag . All rights reserved . Reproduclion of any material in this magazine Is okay, so long as the author and source is cited . Photography and artwork is property of the artists and may not be reproduced without permlssk>n. mall: PO Box 442337 Lawrence KS 68044 •mall: bobbafet@cJnetlHOrks .com or consuela@ldir.net www.pllgrlmpage.com/mlcromag �The Sm Zeke• Re ~;~°:1. LY IIDD TO flT IN YOU �So smart ... any way you look at it ... 91 r '1tc,,.ekueeu 'Z)o~•~"•• -L4~H•ee (115) 931-0212 �0 HIT WONDERS When it comes to pick the band for this, still new column, I try to keep the bands (obviously) fairly obscure, but also attainable. So for instance: the Saints-yes, the Buzzcocksno. Sure you should know about both, but the Buzzcocks sold a lot more records and are kinda still around. I also don't want this to tum into me trying to one up everyone by writing about the Unrelated Segments (probably not obscure enough for some). So I'll say everyone should know the Rezill os but.. Scotland 1976, a bunch of art school students formed the Rezillos (if you wanna know about the many line-up changes you can buy the cd or look on the internet). With a comic book, sci-fi feel to the songs and stage costumes the band created a fun, energetic, entertaining little outfit. Soon after, Sensible Records put out the "Can't Stand My Baby" 45 . Thier performance with the Stranglers in Glasgow was enough to put them in bed with the mighty Sire records. Sire put out the "Good Sculptues/Flying Saucer Attack" 45, that didn't do so well, mostly due to poor production that didn't capture the energy or the music properly. Early '78 saw the Rezillos in New York to record with producer Tony Bongiori, who produced a couple Ramones records. When the album "Can't Stand the Rezillos" came out it reached 16; with the single "Top of the Pops" makin it to #19. To support the record the Rezillos toured the llses with the Undertones (wish I coulda seen that!). After that a new single "Destination Venus/Mystery Action", charted at 50. At the end of'78 the Rezillos were back in Scotland for what was to be thier final show. That show was recorded and released on THE GREATEST ROCK AND ROLL YOU NEVER HEARD Sire titled, "Mission Accomplished ... But the Beat Goes On". Anytime people talk about the Rezillos you're bound to hear words/phrases like: B-movie, sci-fi, comic book, punk, and new wave etc ... and it's all there. There's plenty more too: energetic, for one. I think for me the first things that sounded out were the Fay Fife & Eugene Reynolds dual vocals and Jo Callis' guitar, both playing and sound. The 60's pop influence mixed in with all the aforementioned aspects combine for a unique and extremely fun sound. So, if you've already got your hands on some Rezillos, hopefully you'll toss em on and remember how great they are. And, if you've never heard them, find those old Sire albums or get the cd with the 2 albums combine plus the "Venus"45 . Check em out, especially with what "they" are calling pop-punk these days. Ya know? by Larry Brinkman AMAZING NEW MICRO-RADIO STATION KAW 88.9FDI prennll NO HIT WONDERS Fridays from 2-4 PM �~TEST DROLL ~R HEARD )n". ou're bound to hear and new wave etc ... r one. 1 think for me ,gene Reynolds dual ,e 60•s pop influence ne for a unique and on some Rezillos, 'iY are. And, if you've cd with the 2 albums with what "they" are 1 ry Brinkman tlO STATION LW ~FDl ...,,11 HIT IDERS from 2-4 PM Records & Stuff We Sell: 114. MAKE-UP ~--=.:.~t'i:. :: 113. MAKE•UP 'In Mau Hind' Ill. BLUETIP 2-son11• • ® © ® © ® 112. SMART WENT CRAZY 'Con Art' • 109. HAPPY GO UCKY t::w~li SR 108. AUTOCLAVE SR @ 107. BRANCH MANAGER '"""'..:, • © 106. LUNGFISH 'Indivisible' • © 105. MAKE-UP =~.:.::: 'AARr Dark' • © IOI. BWETIP 'Dlschord No. IOI' • © 90. FUGAZI 'Red Medicine'•• © 50. SKEWBALD (Al,o'i:.~~ " ® 40. MINOR THREAT CD has ew,ry sore! ® 14. DISCHORD 1981 ::,~,:.,~ @ 13. MARGINAL MAN SR @ II~=-= •~rCO.price@/ ·=~ +eu..u.. prb @ J t+co,,...,pra G NEW Price Guide, Including postage, in U.S.$: .sg,:~ A!mli!! ® © @ ® @ 7" LP CD MaxiCD CD single 3.50 8.00 9.00 I 1.00 I 0.00 I 0.00 12.00 5.00 6.50 I 3.00 12.00 I 7.00 W. •a,tVIMI HC/0-- · Cal (10J)lSl •7S07 w l-fNI or l'a w ~-J~41tchof'1110cltMMf'f.C9ffl Wfflllww•w • (70J)JSt.7Jl1 s_._w.._~ J :~s::::: ~1.~~· fflHfffl ~s;ru: :,o::;:~,.c. lllu1tr1ted CATALOOI ,Or a plaln but comp Itta 3819 BEECHER ST. NW. WASH., D.C. 20007-1802 �SPEC~ REPORT While most of the world was glued to their television screens watching the Super Bowl on the 24th of January, my buddy Larry and I opted to watch the A&E Biography on Marilyn Monroe. It was two full hoursof "The Mortal .... ...... to that set for the entire time. It was a much more memorable event~ · could ever be. Well, the program the Celebrity Death Match was ended about the same time about the most entertai _ly lasted about IO minutes, leaving us looking for though Larry is relatively new to the sport, it cle had an old Bally the first thing I ran to Touchdown! game when we visited. otally sucked. It was really thick rubber slow. It had huge onded me with my bands in place aunts and uncl of the time. y favorites became ipped in college in e that beckoned me anyway), so we din its place was Dr. RUB's horrible about bar sports and a brand new X-Fileii' nervous breakdown I particularly pinball. At first inspe .· Sega. This should make any seasoned pin-head immediate! Hi's not a Bally or Williams game. It's pretty humorous that the game brags·a t;u: 'all business for IO whole years! Hell, I've been in pinball for longer than that ! The only way to play pinball with two people is to play what I call "Double Doubles." What you do is you put in four credits (this game is 50 cents a game or three credits for a dollar) and punch up four ·-layers. Be careful though, this game has a six player capacity! Player one plays players one and two 1 bring higher 1 from the bar, a row, and th~ Theph the focus ofth exciting of a Madness." Th you first start, logical reason all. It's kinda r pushing the bu lane that drops that. It seems I: doesn't even w1 the staple back on the playfiel electronic shoe! Once ye goes around the 75% ofmy drai, opinion this is nl light up one by c ht. This is prob cabinet drops do pretty hard to do think the replay Another A trap door opens u most viewers wil ramps/loops. It's 1 philiacs have ab~ Overall, offers nothing ne, Cheers and good f �one and two and player two plays players three and four. This enables both players to get in their respective grooves and tends to bring higher scores and longer games. Alternately, when its not your tum to play, you have just enough time to get another beer from the bar, or deposit some beer in the bathroom, or whatever. Plus, if you get an extra ball, you end up playing three balls in a row, and that's a whole game! The playfield is simple and open, and has two long and winding ramps. In the center of the playfield, and therefore the focus of the game is a file cabinet. I.)?ipl"(A'.s~:'X.cli;f\~~-!!!~med game, but for some reason a file cabinet isn't quite as exciting of a centerpiece a~ a UFQ tb{jifi#1:il~ 'li:ki(§fi•t~(AAkfrom Mars" or a castle to destroy like "Medieval ·· game, but it apparently is just forlooks . When Madness." There is a cool loq\g!)gJ!!i~l)!:>:imY.i iiihebackJtA · you first start, the game asks"yooi§ choose Mulder or Scufly, . . ..• not figure out why it does this. There is no logical reason for this ch9i~<(Jt:.goesn't seem to alter your score an~)fi#ffi!jnly doesn't change the play of the game at all. It's kinda refreshio.g··lu.~t:"ihis game doesn't have a skill shot, bu' ....... e time, once you launch the ball by hole and shoots out to the pushing the button (9r,.!1Jppi:i,g both of the flippers) it just goes straigh lane that drops to y.()ur ·ii'ght flipper. That's bow play begins and there 1s . ing very wrong about that. It seems like allofilie new games ha"l'e''either a gu1itwe of launcher' . . plastic button that games that were doesn't even work ha!fthe time. Whal everh4ppened toµJ~g:pod ol' plunge the staple back in pll:iball's glory days? Areahskjll sher-is .placing the ball e~actlfwhere you want it on the playfield by •using just 1he right tou~h,..not. r~lyiag.., on 1he force of·sqqie predetermined electronic shock . · unfair loop shol that Once you bi,gjn play, you wil:l be quick tqt~alize that ihere is an in . goes around the file•~a~i11e1 in the.l)enter, and slingshots the baff,\:jirectly cl. center. 1 swear that at least 75% of my drains ~te•a ,.direct result of thal fatal loi)p. The gam,tseems. ·· ··e that this is a problem, and offers a small bounce back pin between the flippers, but in my opinion this is no comp¢11sll\(pn for such an unfair loop. In fact, this g be a really fun play if it weren't forthat damn loop. This loop is part of the six "X" shots that , the player is awarded "The Truth" which is a four-ball multiball with all six lanes and ramps light up one by one, ai\cffu~Iµ® both ramps and all four lanes. 0 lit. This is probably the ··•·•·•·· ·····•• •···. of the game. The regular, thr all is achieved by shooting the file cabinet in the center(also a fairly sketchy shot) until the file cabinet drops down into ·:: you can drop the · er. The jackpot is also a fairly difficult shot to make. It's done by shooting the left ramp, which is pretty hard to do unless you -ltf!:W;\lie:Y\!WY r right flipper. Jackpots start out at 500,000 which is pretty good for this fairly low scoring game. I much forget it after that first shot, if you want to play the multiball for any decent length of time. think the replay was set at I O,OOO;OOOMli¢n ··········· Another pretty cool, but kinda dfffic '· ·· re is the "X-Files." This is achieved by shooting the right ramp three times to spell "FBI." Once this is done a trapdoor opens up right in front of the same ramp and is easy to hit. The game then picks a case for you out of the X-Files. Each case is based on a story from the TV show, and most viewers will recognize them . Depending on the case, the game will light up one, two or four of the "X" shots and gives you a couple minutes to try to shoot these ramps/loops. It's pretty challenging to make all of these shots in the alloted time, but it can be done. This same feature sometimes asks a trivia question about the show, so Xphiliacs have a better chance at getting these correct and claiming the 300,000 prize. Overall, The X-Files game is a simple to learn and fun play, save for the "death loop." As far as staying power goes, no, this game will not be considered a classic. It offers nothing new to a seasoned pin-head, but because it is easy to figure out and doesn't contain too many different features, it could be a good place for a novice to start. Cheers and good luck' an4Ii.\'!!Y �) / / ,{)~7! 0 -- • only $6 for four half shots of your choice lwl:ole Take o shaker and insert ice, a measure of your favorite scotch, the juice of half a lime, and some sugar. Shake and strain the mixture into a collins glas.s which hos been filled with ice. Top off the glass with 7-UP, soda and a few dashes of Peychaud's bitters. Hew t• lte Glenlevit Glenfiddich Royal Lochnagar Cragganmore Oban Macal/an Lagavu/in ltetter 1 Have your money out when you order a drink. *.. . 2 If the sun hos gone down, it is too late for a Bloody Mary. 3 Never drink on credit. It is bad karma. favorite beer: Fuller'• great place to get o drink: Leun9• No windows, stole popcorn, interesting jukebox- everything you always ' wanted in a bar and more. - . Every Wednesday/ The Single Malt Scotch Taster Special Louise's/The Tap Raam The DowntDwni.a- 71handMUNCIIUMlb -. JJL ,. ' Ct-1£CK ll.t OllT ON Tf/£ WEB! �- , 0 ,day! ICial avulin FURNISHES A WONDERFUL PRE-SELECTED MUSICAL PROGRAM •.. cho••n with car• and taate 0 MONOA Y• $2.00 CALL COCKTAIL C\.tewLY REMODELED DOWNSTAIRS ... with positive apace enh.anc~~•,"t 0 TlJESDAY· $2. 75 PIIEIIIUII COCICTAll • - , ,~ -;;.._ ·"K~~-:.:~ - SMILING FACES ••• happy to aerve or not . .rv• you .- -·-: :;._._ - ~ _- .;::WEDNESOAY• LESS ODOR ... 0 THURSDAY· - $1.75 IJOTTLES o I••• all around funk $2.00 MLL 0- - - _,..0 COCKTAIi. BETTER SELECTION ••• as to ffl your HI-Fl IHHtylo J,, 0 FRIOAY· SELECTED SPlllrT S ATlJROAY· SELECTED OIIAUGHT SUNOAY· $ 1.75 DRAUGHTS 0 FREE POOL ••• s .a ovoryday 801 new hampshire ENTRANCEONEIGHTHST. �OPEN 6:30 am - 2:30 pm Dinner 5:00 pm - I 0:00 pm J1 Haili Jacki Bee She cam, started K has been I We serve breakfast all day because we car,. 728 Massachusetts Lawrence KS Anne Tan Jacki Bea experienc1 there were Bunnymer Outhouse. vice pres id hung out a under21 w I don't kno Fields Mari start one-th many tapes AT: What favorites? JB : Everyth City and the felt like I goj Worker, Ym jacket and g �Hailing from Westbend Wisc., renowned home of appliances, Jacki Becker has been a part of the Lawrence music scene for years. She came to Lawrence on a swimming scholarship in 1987, later started KJHK's very first local show "Plow the Fields Martha" and has been booking shows atthe Bottleneck for live years. day Anne Tangeman: What was the music scene like when you got here? Jacki Becker: Because I came down as an athlete I had a different experience at first at KU because you're nestled with this group, but there were about five ofus that liked concerts. I went to see Echo and the Bunnymen, U2, and ... Fishbone. T hat was my first show at the Outhouse. Turns out it was Kevin Gasser's going away party-he's now vice president of Hollywood Records ... .I quit swimming and I basically hung out at the Crossing and saw all the Crossing bands. When you're under 21 where else where you going to go? And of course the Outhouse. I don't know-I just started talking to local bands and I started "Plow the Fields Martha" on KJHK-there was no local show and in 1990 I asked to start one-they said sure. Every week I interviewed a band and got as many tapes as I could-the scene was really starting to take off. AT: What were some of the bands you remember-some of your favorites? JB : Everything for me started with Joe Worker. Obviously there was Sin City and the Homestead Grays who were standards, but for me, where I felt like I got to know a band and I was friends with the band was with Joe Worker. You know, I'd put on my little combat boots and my leather jacket and go to all the house parties on Ohio St. and Connecticut St. to see Joe Worker.. .the song "Frozen Embryos" ... we all loved it. They were, for me, the band that I really felt close with .. and Zoom. Of course Sin City was phenomenal. The Homestead Grays-you just had to love them. Two Car Family, obviously Paw. I started loving Paw at a really early, youthful, embryonic stage for that band. There were a lot of house parties back then. There was always a new band playing somewhere at somebody's house-which you just don't get anymore . The noise ordinance kind of crushed it. Kill Whiety- you'd always go see Kill Whitey. There were so many local bands and it seemed like very much a family thing. Bands would go see other bands. You'd go to a a party and certain members of the Salty Iguanas would be checking out Joe Worker... or. ..Mongol Beach Party-I always liked them for some reason. They were from KC and it was kind ofan odd band but they were unique and kind ofinventive in a Frank Zappa kind of way. Random Aztec ... that was a band I loved. AT: They had a flute though, that's why I didn't like them . That was it for me. JB : There were just so many bands ... Love Squad .. .! love the Love Squad guys. There were a lot of different bands. All different sounds. AT: How did you get involved with the Bottleneck? JB : I graduated, Martha died in some weird tractor accident and got rid of her... she was hit by a combine, so I thought okay I don't want to be a DJ, what do I want to do-so I decided to go to grad school. I was giving up on the music thing. It was fun , but I did it in college. In the meantime, my boyfriend was working at our favorite copy store and I was writing a play, it was the third shift and Brett came up to me asked me what I was doing. I was writing a play, writing applications for grad school. .. he asked me ifl wanted a job. So pretty much without a resume or anything I got hired. I didn't really have a job, he just told me what he wanted . "We're going to do this, but we also have the New Times and you're the calender editor" so I kind of took on two jobs for two of the things he �owned at that time. This was 1992. At that point I think the Bottleneck was the bar everyo ne went to. You had the Outhouse, there were very definite places for people to go-the Outhouse, the Jazzhaus, the Down and Under for a little bit. There were a lot of different places people could play. The Cross ing ...there were always shows at the Crossing, even at Yello Sub. The Bottleneck hadn't been doing a lot of shows-the biggest at that time had probably been Sugar and the Flaming Lips. Obviously the bi g Living Color show that Brett will always finger as the show that made him realize Lawrence is a music town. That was a show, that kind of for him, changed everything. There had been a lot of big shows but not a lot of steadily, big bands. '92 was the Nirvana years so I think alternative music was kind of coming to the headfront. Maybe he hired me because I loved all that kind of music and it was the right time. AT: I gotta ask about him as a boss. He has a certain reputation ... JB : I think people are very mistaken. I think they perceive his silence as negativity or his ...he's a very quiet person, he's a very devoted person. I think he took a lot of risk. As we've seen by the number of clubs that have closed, it's hard to run a bar, it's hard to run a bar with live music, it's hard to run a bar that on occasion tries to do all ages things and tries to really commn th e whole community to music. I think he's taken the best of everything and let us all have a little piece. You've got the hippy night and the punk night, the metal night, the ska night, the swing night and the pop rock ni ght. ..you have to take a lot ofrisks. l think people are quick to point fingers and say there's a monopoly or this or that, but you knowwe've worked our asses off. I don't do it because I want power. I think we don because I love this community and I'm just thoroughly amazed by Lawrence all the time. That people will come to shows non stop. That we can do 30 shows in a row and the community will come out and support it-that's phenomenal. He doesn't say much always and that's good because yo u have lots of free reign to do your own creative ideas, which hP.'s let me do. But it's also a bad thing because you don't know if you're doing a bad job. I thought he hated me for the firsts ix months-he doesn't talk. I think it's easy to point a finger at someone when they don't talk. If you get to know him he's a good person and he's hard working. He.wants what's best for the community and the people who live in this town that like and support music. He's a great boss. I attribute everything to the community-there's a lot of people here, from the labels to the fanzines to the radio stations to the clubs to the bands, that give a shit about music. They're committed to it. No other city in America really gets as many shows for our size of a city. Kansas City doesn't get crap, we get everything here and it's partly because of the community and the people in the music community working together that we're one of the top 15 stops now-up with Chicago and Dallas and Denver and St. Louis. Half the time the bands think we're weird two headed freaks that inbreed in Kansas when they get here, til they get to know us then they say Lawrence is a great town. Lawrence has everything. It's a little bit of everything. AT: What do you think about that time when bands were getting signed here, Paw, Stick ... When people were talking about Lawrence being the next whatever.. . JB: When that was going on that was really exciting. It was really cool for me to see these bands that I knew get all this attention, but I think the music industry has changed so much from 92 to 98 that what music is now... obviously you've got your really nice die hard independant people that are very supportive of indie labels and indi e promotion and indie rock-that's very positive. Then you've got the big labels and the big companies pushing the one hit wonder, one hit single band. I don't think they sign bands anymore to create a scene. I think they wantthe million dollars and the buzz bin and that's it. That era was so .. .! felt so young then. Now I feel like I'm this old jaded fu ck, but in 92 -which wasn't even that long ago-when bands like Zoom and Paw and Stick even Kill Creek and Mountain Clyde, were getting all this attention .. ! don't think labels were looki1 worthy of careers, something to mali some dumb tv inb Spin and Rolling S KC says lets do 1 questions ... they was going to be the look at the size Lawrence has pro because there are through people he1 AT: lthink a Iotc it's j ustthat. The1 JB : Exactly. KJ h, there for a really I who weren't in the to play music and people who worke across the country scene itself WetalkedaE she thinks radio is in short spurts Chumbawamba become more co Kansas Citystatio JB: They're forced they won't pick a SQ Five, or whatever I County to Lawreno �>I e is rlg~ \k In labels were looking for career bands and I think all those bands were worthy of careers, not one hit wonders. Media is constantly looking for something to make money off of, something to promote. I had to do some dwnb tv interview 2 months a go about women in rock because Spin and Rolling Stone did a women in rock covers so some tv station in KC says lets do a story on women in rock. They asked me ridiculous questions ... they were just looking for another story. To say Lawrence was going to be the next Seattle, was just another story. I mean obviously look at the size of Seattle versus Lawrence-it's impossible. But Lawrence has probably as many bands perhaps as a lot of big cities because there are so many people here-through the university and just through people here in town who love music and who work with music ... AT: I think a lot of people attribute it to the college, but I don't think it'sjustthat. There are roots that go way back. JB: Exactly. KJ has a lot to do with it too. There's a station that's been there for a really long time and it enables you know, geeks like myself who weren't in the Journalism school but who love music, to be a DJ and to play music and to get a career out of it. I could make a list of a zillion people who worked at KJ that now are in the music business elsewhere across the country. I think KJ nurtures bands and it nurtures the music scene itself. We talked about the state ofradio today and Jacki told me that she thinks radio is now geared towards people who listen in their car, in short spurts and that's why you'll hear Smash Mouth or Chumbawamba a billion times a day... and that the KLZR has become more commercial because it is competing with so many Kansas City stations: JB : They're forced to play say, the new Matchbox 20 or something and they won't pick a song that's huge on KJ like say, Unwound or Pizzicatto Five, or whatever because Mary Scary in her car driving from Johnson County to Lawrence from work wants to hear Matchbox 20 for those 30 minutes. I think it's the sick degeneration of music and it's destroying bands and it's destroying clubs. Every time we try to find a one hit wonder, that's one less perhaps local band that isn'tgoingto get a deal for nine records-they're going to get the one record or what not. We have to book them for lots of money and they're not ever going to come backyou get them once and go, okay... AT: It's kind of hollow. Like when you're a kid and buy a record for that one hit and maybe the rest of the album's crummy. Some~mes you go to a show like that. JB: There's lots of shows like that. You can watch the parade, watch them leave after the one song. I remember Lisa Loeb ... she played "Stay" and 1 swear 50 people left the Bottleneck-instantly. I swear, they exited like little lemmings. That's all they wanted to hear. 1 think generally Lawrence as a community is more intelligent than that, but that doesn't help the Lazer any. They have to do what people say. I would love to hear different songs on the radio .. but it's not going to happen, so you listen to KJHK. AT: What pisses you off most about the music industry? JB: Let's see ... wow. I think you can separate it locally and ... Locally I'm frustrated because I think the community doesn't identify truly that there is a strong music scene here that deserves supporting. I shouldn't be bitched at by local businesses when a damn bus drives down the street and I get fingered and pointed at and scowled at and yelled for things. It's ridiculous because they're bringing in more than 900 people likely... Why, ifa local band decides to put posters up, and they do a good job and they put some on telephone poles, do they get sent back to me and they try to fine me because "the community doesn't want to put posters up there." Drives me crazy. Sometimes I think Lawrence is in denial that we have a good music scene here and that we have clubs that support live music. From the Jazzhaus to the Replay to the Granada to the Bottleneck and Liberty Hall. .. these are good venues that have �worked really hard and support musicians and I think the city does a lot of things to prevent that. Nationally.. .gosh, there's tons. I really don't like the fact that bands get signed for a hit-you know-instead ofa band that should last for 8 albums . And if you put out a good album and it doesn't sell, you get dropped. Like Molly McGuire was dropped recently and they're a good band. They weren't really given a chance. I think the music industry was so quick to sign so many bands after Nirvana got signed and then what they did was sign a lot of bad bands and they forced these bad bands to go out and tour with the other bands and not allow local openers. So, a local scene will single-handedly die because if you're paying the 12 bucks to see some huge national band, you're not going to pay the 3 bucks two days later to see a local band cause you're like "I spent all my money" . I really dislike that when national acts don't let a third band or a fourth band-a local band- to play for just thirty minutes . Because that's the key to getting people to like the local bands, to come see the local bands that could in tum, become the next signed band. That really bothers me. I think there's a lot of greed in the music industry., I think a lot of bands ask for more than they deserve. Like, why do I have to buy you cigarettes and socks? Why if you're getting a hundred bucks .ne you in a tour bus-why can't you be like Jesus Lizard and drive in a damn van or like Mike Watt. I base everything, alotofiton the past. I think of all these wonderful incredible rockers in the 80s that did the punk thing and drove around in vans for years. That's what music was . You either did stadiums and you're Peter Frampton or you did clubs. Now it's this weird blurring. Bands come in with their own production and the biggest light things I've ever seen ... we did a semi-trailer for Marilyn Manson and Widespread Panic and Morrissey... this is big time shit we're talking ... then you look at the Jesus Lizard. Three of them show up in their van and they put on a great show and it's as good and probably even better than the big honking light show we unloaded for nine hours the day before at Liberty Hall. I think there's a lot of excess. I can't wait for the music biz to dwindle .. .! think it's already happening. A lot of labels are laying people off, cutting back-to go back to the roots of where it all began which is you play live, you get the van and you tour. The goal shouldn't be to go press a CD with your parent's money so your thirty friends will buy it and no one else is going to buy it. Local bands: don't make CDs. You have 30 friends and you're going to spend $600 to go to the studio and record this thing and where are you going to sell it if you don't go on the road? You're going to sell it in the record stores? Who's going to buy it? I think they should be into wanting to play live. That's how you get fans who will eventually buy your records. Make at-shirt. Let them buy a t-shirt to promote your band. Don't think a CD will change your world cause I don't think it does. Yeah, you can send it off to all the labels, butlabels are cutti ng back and not signing as many bands. I think we need to all start back at the ground again and that's touring in a van and it's playing to the fans and not being as concerned about money and playing because you love it. AT: What have been some of your favorite shows at the Bottleneck, or shows that you have done? JB: _My favorite show ever-and I wasn't working there yet-was the Replacements at Liberty Hall. For me that was phenominal. That was 1991. Jacki had so much more to say about great shows (and not so great ones) that she's joining us regular-like with her infamous "backstage pass" column starting in this issue! BACKTRACK �of {e 1al rty n't to OU o's at's irt. ill lfto 1ds. I ina oney great mous - �Next to horrc Godfather, G deeper, you c, At the top ofti thing about 7l ,found out Seri Sure it's long, gangsters, dan that grew up iJ gangsters, par and based on flashbacks, v version troubl long version Wood's char small and gain totally engros; outsmarting th Check it out. Pearls uncovei noir with some sure Scorsese i much as I did (f blood) then cht along the sanne masterminds th crime but of co1 narrator, The J(J there are hundn down at Libeny �Next to horror movies there's nothing quite like a smoking gun to curl Consuela's locks. The Godfather, Goodfellas, Miller's Crossing, Reservoir Dogs- they're all great but if you dig a little deeper, you can find even more treasures. At the top of the pile of dead bodies lies my favorite movie of all time (I know, I know, I said the same thing about The Good, the Bad and the Ugly-okay, it's a tie.) Once Upon a lfme In America. I later found out Sergio Leone directed them both. Sure it's long, and if you don't get the long version, you'll be mightily confused, but it's got ital!: guns, gangsters, dames, cool cars, plot twists galore ... and De Niro and James Woods. The two are buddies that grew up in New York City in the twenties and thirties, small time hoods who grew into full time gangsters, part ways and later meet under unusual circumstances. The cinematography is incredible and based on the famous photographs of some guy whose name I can't recall. The movie takes place in flashbacks, which makes the shorter version troublesome, but if you get the / / / long version you'll see De Niro and Wood's characters as kids, startmg out small and going up againstBugsy Segal before he hit the big time. From kids to old men, you become totally engrossed in their lives. De Niro is Noodles, who along with Wood's character keeps outsmarting the cops .. .it' s got the breadth of two Godfathers. Even the music gets me every time. Check it out. Con.sue/a 's (:I)oulble Pearls uncovered lately include Killer's Kiss, Stanley Kubrick's first film effort. It's unpolished film noir with some outstanding visual shots. The anti-hero is a boxer and though it's no equivalent, I'm sure Scorsese ingested a few scenes before shooting Raging Bull. If you loved Reservoir Dogs as much as I did (finally had to stop seeing it after five viewings- I was growing numb to the volumes of blood) then check out The Killing. Tarantino surely pinched a few ideas from here. The plot runs along the same lines-a handful of down on their luck guys, brought together by a head honcho who masterminds the heist of a race track's daily earnings. Everything hinges on perfect timing of the crime but of course something goes wrong. Less blood (B & W) and a lot stiffer with a "true crime" narrator, The KIiiing still has enough smoking guns and plot twists to keep you on edge. Remember, there are hundreds of gangster movies in the naked city. These three are available from your friends down at Liberty Hall Video-749-1972. �Out now from Noisome Records! Get it wherever cool records are sold or send check or money order for $12 to: W.T~7J.E RE!"ORDI I'() I Ho, ~.::;70 I ,l\\r .. nu.: KS hhtf-1(1 lll,111 u.., .it No1..,01111.:l<1..·1.. a .tol u1111 �rs! �1 fi!lfilfl~iiiif~f;~[i!Jl!II ��OUT NOW! THE DAMNED• TURA SANTANA• MAN WILL SURRENDER • Coinpldt. contact lnform,i.tton r« 1500• Mts •nd aMOrttd tndr:pcuOcnl pu bllc:llklM • Con1'Hete c:ontenlf. r:1•t. pAJCel'. ADC. •nd pradncUon °qWll.lty of all 11Y1..tlablie ISIUC• of ~.r)':UncllStt:tl. • lndo:cs band5. n:cord bbc~. and all (C--.. . . subje(:ta/topsca. $4.00 ppd In U.S. • $5.00 ppd cu..ia/l(e&leo • $7.00 ppd -14 .r.ll..lll/al.) Zlae Guide • POB &&8'1 • ltftuton, ·::/::~~::::::;: U.•&0204 THE CANDY SNATCHERS GROOVIE GHOULIES • THE DONNAS 111es11ne1rMracCMa.Com , Tired of crappy selectio1_1? SUNDAY MARCH 29 OUADRAJETS • THE FELLS THE COG FACTORY • OMAHA , NE UNWOUND• CHROME TECH• THE GET HUSTLE 2429 Iowa Lawrence KS 66046 785-842-1544 �����Tl-If BfJBBlf BOYt OfBfJT FfJll lfNGT!-1 !Till AVA/lABlfl CD available at Lovegarden, Alley Cat, Recycled Sounds and other usual outlets or send S11 ppd to: • Noisome Records PO Box 3570 Lawrence KS 66046 email Noisome at NoisomeRec@aol.com �sleep it off yo, cause y_o man, bonus, yo dude ." The man backs up and drives away. The Great Outhouse Massacre byaobCutler t:~:~~ill everyone ~~:~ th eres ti IOHJ~~~ him the bonus tip, and yo, man, "Is thi s the Outhous ''Naw man "' tell Jew "He'll be back, that dude's got an agenda, and he's REALLY REAALLLY w ants four miles 1 5 also told bonus wasted .. .! think he'll be back." "The Outhouse? Now back in the dah, I was helping Jeff Fortier do all of his shows at theOuthouse .. .. hell , I ~:ep;:~!~ ~!e~C~~:::~ actual ,~W:{~e;s~1 is bac/tffet~~i~;sebt; ~~i~li~·~f~~,e hot night. .. lt's the truck. "Si r, Jis1saneme1 . We were out at the Outhouse that anemoon loading in gear, setting up the PA system, and wearin ~;~i~~~~:s~~~e~bi~r~r:~te~~r~dhe~~(idfci~~~~!~~oo[e~~~~:· and yes indeed, he is ~~ebr~t~f said, as thougn getung ready for the show A couple of the bands had shown up already and where milling about throwing rocks and ~e drunken exhibitionist staggers into the Outhouse and looks around, then he locks himselfin "NO! Some guy ii gettin~ dl)Jnk a few qthcr people h~d also s~own up to hang out Josh and I were hauling in the the bathroom . He is in the bathroom for almost 30 minutes. I began to worry.. more. Had he passed out chasing people around th 11 in there? Was he doing something I'd rather not think about in there? Sheriffout here quick! " gear up and down the road past the Outhouse. Jeff and l were discussing what to do about it. I was ready to kick the door in to check on the J try to convince C The truck would come down the road slowly, until it got m front of the Outhouse, then it would guy.. just then the door opens and out he waddles ... and yes indeed, he had a woody poking out of his people had indeed run ir. 1 1 red bilc.ini . He staggered around a bit more\ then got back into his truck mutteri ng some shit, and giving someone was indeed in di S'i,hdo~~~f~~ c~~~~e~c1~'t~~i1 ~~~~~~.~J1i~Y;:1h~ !~rlci~~ 1 Jeff a ~tkda~sd~~~::uj;'~~~-bit. I was turning to Jeff to a ain suggest that maybe the "Sir, can you descri fo r a minute, then backs out and speeds off 1 1 sheriff should take this guy off the road ... when ... WHAM ! He puts the 1rucf in gear and rams the bands 0 0 11 looks Ii ~i~k i~'~ ~o~ e J~~k~e~aJe~rel11/b~nJ;;~~Jd~~'i5 th~ s~~w:~~1a~eu~ i~ van in front of him . A couple of guys leap out of the van yelling "W hat the fuck!!?? " The drunk backs little test. h up again and rams the van again . Ttie people milling about look up startled , and sta11yelling at the guy "Well .. .i t's a trucl bu zz l ji((s:ys "N aw, i1sjust a farmer checkin' shit out Don't worry about it. We don't want the "Yoyo yo yo yo! Bonus Yo, man YO! " Jeff yells. The truck begins dri ving in donuts arounct the it ... And there is a fat dn Sheriff out here " parking lot.. .He p1dCs out Jeff and dri ves straight for him ... .Jeff stans running double bonus fast, yo. I everyone wt tell her. of love had turned to a look of rage and death The man had Outside thebull-l look at the driver as he goes by ... that look (This is : :~~il~ ~h~~ t~a~~tt~hJ~tf)Y comes back and starts some shit.. ! can feel it in me bones ." 1 blood in his ey~ . He was tossing gravel, speeding around , chasing Jeff, and a whole herd of people ru m mel You bllnch offa Jeff didn't t~ink it was anything to worry about. but my spidey-sense was tingl ing, I KNEW Dust filled thea_lf. . . . . . phone line out so that I< something was going lo happen I ran ms1de the outhouse and watched from the wmdow... th1s man was intent on running tryi ng 10 run over J>I So we keep loading gear and tinkering with the Frankenstein monster of a PA system that everyon~ down. I y~ll~d out "Heyl Run inside, everyone get in here!" A!1d they_ did ... people sta11ed air.. pandemonium. "Can I have ourn we had The truck keeps com inf and gointslowi~ and speeding by, and generally actinj weird . runnmg mto the building. The I heard a crash, and saw a couple of bodies fl y m througti the door, 1 1 "Yeah I'm i/obCu horiz~ntal to the ground, 0ivi11g. At first I thought that they had been hi!,. and.had b1.:en thrown in~o the and ho~irt~~t~~l~;;s~=j~a~~?or ~~ a~d h:r ~Yt1hJ';;~h~11i "And i'his is at the( building. Then the wall came in, as well as the truck . The truck landed ma pile of cmderblocks 1n the "Yes ,, truck comes flying down the road . It goes into the ditch opposite of the driveway, flies out of the middle of the room . The people, had luckily rolled out of the way and taken cover. ditch, and into the cornfi eld across tile road . We could see the truck cruising around in the com The truck sat, higti-centered on the rubble. People started getting up and advancing on the truck And what is the C! across the road. Jeff and I look at each oth er The man at the wheel looked terrified, and in a blind rage. Pieces of the cinder bl ock wall were hurled I didn't know I h "Holy shit'" Jeff says. at himhand his truck ... he put it in reverse and peeled backward, finaJly gaining traction and backing Mass street on 15th · its "Man .. I knew it. I say Then the truck bursts through the com, flies across the ditch and throug the_hole he had made. . . . . . plead with her... shedoeS comes strai~ht into the Outhouse parking lot. It ~ulls to a stOP. behind one of the band's vans. A I ran intoth_e bathr09m ... a y~ng man, with his pants around his knees came hoppmg out. trying Just then Josh run to pull them up, wide eyed m surpnse. the phone "Uh I,suess k e~~~eer~t:_d J~o-';~sb~~;:r~~dh:~·s . ..v~~·~:~!~fha~~i.'te~! "Wha... what he fuck?" He stammered as he hopped out. .. l guess he had been on the throne, "A · un? ··5,r wht We walk carefu ll y up totfie truck. I am expecting a gu n to come into play at this point . We doing a bit of excremeditation ... some foot and a half on the other side of the wall from where the truck don\ kn0w 1 came through . I pushed past him, I wanted to get to the phone in the closet in the bathroom. The closet womens underwear • f ti J~nt~n;~~j~riJh;g i~acith~~ door was locked, and half_due to adren~inh1_1.nd half due to crappy craftsman sh I y_anked on the doqr, be taking this very s·erio help me, I need some help here ... " .and · "I want you to lJeat me up" or "I want you to beat me off." and the whole damned thmg came off1ts mges ... as I pushed the door away, 1ooked on the floor m in ro ress l'mnot surewhich Jefftalkstotheguy front of the toilet .. there on the floor lay a fresti steaming turd ... nodoubt helped along its journey by the p g"L00k just send ~v oyo yo, man , check it dude, yo, heres the bonus, yo. check it dude, we got a show, yo. and truckflyingthrou,gh the wall. someone?" I isk heraga it doesn't start 1ill later man, yo dude. so maybe you shoul0 like go get a bonus nap and come back "Sir could you de I grabbed tfie phone and dialed 911 . Outside, people where hurling rocks and bricks at the truck, Iater dude yo " which was circling the lot A voice answered the phone. "No' I'm inside h, The drunk mumble s some shil , and asks fora blow job. At this point I notice that the man is "A'nd he's we3.ri "Emergen~y dispatch, how may I help you?" The womens voice sai d .. and my god, it DID sound not wearing any pan1s either and due to the bloated belly, I can't tell (thankfull y) if he's wearing scratchy_and stauc~... truck?" She asks again any undies or not :u_h,,yeah, hi .. .l'm out her;~t the O~thou~e. and uh . we have a probl em " ·1send Josh out to "Hey yo man , like check it dude" Jeff says "Yo, man like, maybe you need to go home and S1r. lsth1san emergency . The vo1cesa1 d paper J recitetheinfotc (seconfh~~d)'bouth~ t~i~in~cli t~~t::Cf~H:1:~~ ~h::1~~~A t~r~~ ~?~:~il!~fo'X•i M~i1i~is~\~~~db~ti}} ~sc~~~~/gr~:{;!r~~nd~ ~aa~i t;~.f~e6':1l"e summer t hf::c~ ~~df ith: 1i c~~i~rieing like, !!1: f ~~tY ~:~~,~:li":t ~=~~?~"• the '8~ !:~ hi~ N ~$i~.·J!~ A~:~rit ~r3th~ II ~i :~!i~~ faff fa~i~~ !H!~~-~!~;~ if, "f �1away. the bonus tip, and yo, man, 1e'sREALLY REAALLLY Alittle while later, our man n and parks. He gets out of odka, and yes indeed, he is thaL nd, then he locks himselfin f. more Had he passed out the door in to check on the a woody poking out of his eringsome shit, and giving ;ain suggest lhatmaybe the iicti!?? '~fh!d~~k t:~f: :~~uen~ ~e 8 0 ng double bonus fast, yo. I ge and death The man had nd a whole herd of people ':ti~adid.~~;~ple~~~~ ;fh% pile of cinder blocks in the re~b1~ktJ :over. ~e~heeh~fekd ining traction and backing .s came hopping out, trying f!~1}r~:~i~~tll~f~"ct the bathroom. The closet th .~~ift~t:t~~ ~. n°~';'l~ ralong itsjoumey by the tks and bricks at the truck, and my god, it DID sound r "Yeah theres this drunk guy in a tru ck, he's wearing a red bikini, and he's trying to run "Look! How many drunk naked men are driving new red pickups around the county at 5 in the everyone over aflemoon l?" 1yell at her. "Is this the Outhouse on I 5th street?" The voi ce said. I look back out the door, and sec that the truck is leaving the parking lot and heading west on "Yeah, four miles cast on 15th .. this guy's drunk and drove through the building ... l think he I 5th street, towards town. wants to kill us." "The Outhouse? A man is try ing to kill you with red bikini's?" She asked ... "Sir, is there an before ff~ards town, he's drunk and crazy and you better catch him actual ::~~?~'o. the man is wearing a red bikini." "Oh ... OH!" Shesays .."Well, lbetterget someone out there!" She finally agrees. "Sir, this ts an emergency linc ... if this isn't an emergency then you will have to get off the line." send them up I 5th street so they can intercept The voice said, as though she ihought I was merely reporting a grave fashion faux-pas, involving a him." I t:Ktscr~i~~f~~/:;nga~ red bikini. few minutes later a Sheritrs car pulls into the lot, the Deputy gets out and looks around. 20 "NO! Some SUJ is trying to KILL US! He drove his truck through the building, and now he's P.eOJ?le A run u_p to him and begin telling him what had just happened, asking guestions and giving ,.thc parking lot trying to run them over... this guy is wasted, you better send a cletails. The Deputy raises his hands ancl quiets everyone down and begins aSk1ng me and Jeff what 1 had REALLY happened. We told him. He talked on nis radio. His radio talks back ... a few minutes so people l~d~~':t~~ei~~ ~ia~a~er:ir;;~;Th ~6f~~th:r~fodr~n&~~:r~~~~it by then his radio reports to him again. Other Sheriffs DeP.uties had chased the truck through some back roads and had run him into a someone was indeed in danger. ditch, capturing him. But they needed a positive ID. "Sir, can you describe the vehicle?" She asks me .. :w:r~e:s~~ ~::rn·a~~h~~YJP~ ~~~k §i~~tf ~~ki~;u;::o t1:: i?!~~JtJo°r? w".:~~.T~~tJ~:6~bnedJi~~~k~Psh~e;;y·s~.~as:rf she wouldn't send help unless I could pass this countryHi:;em~ie~1W~at":oe:!· i~u3i~;e::e~~kxg~;~~~ h~r't~~~~a~b~dn~~k brougfit the truck into the lot Yup1 that's the truck. you can tell by the blue cinder blocks that match lin1etest. that new hole on the wall in the bacK of the truck. That and the damage to the front of the truck, and the iL. .. An~·::~~-i~t; a~iu\: ~e!rf~;'J~~e~~c~~~C~e:dd~tn~ rt~~~t~\:~i~~'i~~n big empty vodka bottle in the seat. . everyone." I tell her. Then the Sheriff said that they where going to bring the guy to us for a positive ID. Jeff Fortier Outside, the bull-fight continues. I can hear the guy yelling "You bunch of q_ueers are tryin_g to tells him that "Yo man, if you bring him here 1 am goin! to spit m his face!" So the Sheriff has another ruin me! You bunch of fags are try inf to do me in!. .. l'm gonna Jcilf all ofyou fags!" 1 had stretched-the ~18~;asl~d,lle~tiki~idsi';;~~~tfat'~h~~l~od~~~ rough binoculars at him to identify him . Yup, lit~e .s ~~~t Ip~ll~.~.~~0~1:eea~h~n~~~~g s~~mNir So we all filled out reports and gave our personal info and they took the guy, and his truck away air.. pandemonium . mlsdemeanors ... I~ravca~!'!it1e~~ecfv~hi~~rih~~ici~eoudeds~cif~~n~rsPr~~~ a. :~;~{ ~~eJ'~C~~t s;r~"aT~he/ better get someone out here quick." assault, vehicular assault, driving while intoxicated, pub(ic drunkenness , vandZfism, making a "And this is at the Outhouse?" She asks. terroristic threat, and on and on. ''Yes." "And what is the exact address there?" She asks. The Melvins showed up as the last of the cops where leaving, and the show went on. I didn't know... ! had never reall y thought about the address of the place. "Its four miles cast of Tune in next time for the weird and exciting courtroom drama when our hero, the drunk Mass street on 15th .its just past the pavement.. .this guy is crazy, you better get someone out here" I redneck goes to court! plead with her... she doesn't seem to reall y care. I think what happened was obvious .. Just then Josh runs in and tells me that the guy has a gun, and is waving it around. I tum back to The guy got really drunk in the middle of the day, and,sot in touch 5 0 lhe ph~Ae. a~trnaJ ~,au;u~~~l1\~Sh~n!sktt'i c~~~i I I. 1 ::d don't know and I'm not going to find out, he has a gun, and he's cra.ey, and he's wearing wj~a~1 : .. hs!aa~~ ili:t ~Qu;•~in~~dt%~~~al~'an~d6ut wom ens underwear." i tell her, I am yelling at this point in frustration that the 911 lady doesn't seem to ~uthouse" and went there looking for some action. I think that ~etaking this very seriously, and is stalling on actually dispatching a deputy to the scene of the crime Jeff Fortier struck his fancy ... but maybe I'mjustjealous .. .And once he had been re-buffed in his overtures towards Jeff, he mprogress "Look.just send someone out here, someone's going to get hun or killed .. could you just send took out his gay-rage on everyone. Some people just can't handle rejection. someo.. ~~ua~~s~;.ibe the gun?" She asks ~No, I'm inside, he's outside, and I like it that way." I say That's my story, and I'm sticking to it. "And he's wearing womens underwear?...is it underwear? Or a bikini? Can you describe the truck?" She asks again. 8obFuckl116Cutle, I send Josh out to get the license plate number... he rerums quickly with it scribbled on a piece of paper I recite the info to the dispatcher, who again asks fora description. f ~?~: :c1 .f ~~t:J~~!t sir~~I~ 'i: ~!{~t~i.~ ili~ ~f �VAl OF ATHEISTS o.o.A. FESTI um Exl)\ofe the eye-o~n· New 13•track studio alb . h the music and even ing world ot atheism woug D "OM Tiltl mosl th· tensive C ·n • . 5 1urlher wilh ,s ex aluum since Wat On 4 : lie available In Apnl.) \\ildl'/ divergent O.OA {On CO·ROM aod LP. casse _ ___,~ D"O.A. Record With The Best! LI~ The Element 79 • The Hectics The Seculars • The Hefners lrhe l'v1ount McKinley's • Odett, SHO PHO THE wsrrAPES b" \he original 'eased tracks - , d cnucl< B1SCU1\s. funll)> DO/>.. uuys: Joe SMhea . I Wimpy 1978· .,-a~1page. Dase GreQQ. 0,rnw1 • ••d aod 10 more n r be1Cte re\ea.x. 1984·. 6 irac)(s neve O O />.. \aves 100 tsiolls ol some o1<1 . . a\ternate 1/e . va\lahlc 111 Atml.) 16 previously unre, . Q - co and LP. casse11e a d b.s. , IS FDR I #SIGNIFICANT ver's teenaoe punl<s. T~ 3rd album by Nortl_, v~,::"u1astiog it out lor 5 This incredlbie t,and 11ave • ica wl\en they're not touring Nof\h Amer years and in high school. (CO) KIVA RECORDING Fort Collins, Colorado 970-484-7179 kiva@ezlink .com The Cramp1 vamping at Online Music Catalog! www .ezlink.com/~kiva Queen G j hollowbo, at --- ---- �With •st! fhe Hectics ne Hefners ~y·s, Odell LIVE SHOW PHoros by Anne Tangeman )RD/NG Colorado 179 k.corn Catalog! om/,,,kiva (Left) The Cramps' Lux Interior vamping at the Granada, 11/25/97. (Right) Queen of the Night in hot pants and hollowbody, Poison Ivy " at the Granada. �(Left) The Humpers' Mark Lee and Mitch Cartwright hollering at Seattle's Crocodile Cafe, 10/30/97. (Right) The Neckbones grinding it down at .n 0 Seattle's l0 Crocod/le 0 Cafe, o 10/30/97. -&. �(Left) The Humpers' Mark Lee and Mitch Cartwright hollering at Seattle's Crocodile Cafe, 10/30/97. (Right) The Neckbones grinding it down at Seattle's Crocodile Cafe, 10/30/97. (Left) Lawrence's singin' sweetheart, Kristi and her Starlight Rounders at the Bottleneck, January 98. (Right) BR549's wonderboy Donnie Heron fiddling up a storm at Liberty Hall in January 1998. �Jerry Lee..• /mean Jeffrey Lee and his Pale Moon Kings ripping up the Bottleneck. (Left) Nashville Pussy's Corey and Ruyter showing how the girls do it. (Right) Nashville Pussy's Corey Parks torches the Replay, fall 1997. �Grant Smuggler informs the audience that ~,, Zoe has won the dance contest. She got to kiss anyone in the band and snubbed Grant in favor of the drummer. sc"ooNrRs. cocr.rA1Ls -c1GARs • Pool 1009 r\AS!. LAWR£NCE Grand �Tail Spins 9 ***** * s~~!!'!! * * * ** ** ** * OUTFITTING SINCE 1972 802-804 Massachusetts Lawttnce Kansas 10-SOOO S·CIGARS ·POOL LAWRENCE Grand Re-Opening February 26th! DJt.11. In Peco•d stores eYePywhePel Jn...Ibll.1uJ.t: Melvln•, A Hlatory of African Travel Journal , Today I • Th• Day, & 300 Lag Johnny �Love at first Sight? Of Course it's Possible at What Them Folks at Sugartown Traders are llstentng lo ·I·~~:;- ,. ---- . :~_,,. -~I -, :- , ·. la~ Record Microphone . gwater" - Loud1ptJier SHELLEY 0 -~ qg~ e · ·--· Q118t"._ lit'''- itf~oggs "Wild Thinjf'-,, Big Night Soundtrack ' . otorip~·IJ'J:G.~i; eA.fter,.Deat 918 Mauachu•""" I>o1011iow1> L<n,;re1u,e 331-0282 CASEY ,,, At Sugartowu we buy, sell, und tra(k mmt'11 and women's clothing everyday l la.m.-71,.m. So, there i11 alwny~ $Ometlung· new to fall in lov(, with. ..___" ianne Faithful "Greatest d Gilberto "w/Torrenti DANA i , o itllMs.ep t'S)ow4te-atlP-ihrth'el'M L."···-·-·- i , dotp 'n' Ashc,\'a. om~ Fa} to~ IMn'pHitieft ' ' �rrS are llstenlng ID 1~~7 oudiput• Alle Cat has new records! LOTS of them! Desmond Dekker. Skatalites. Toasters. Repeat. Killa Army. Wu Tang Clan. Wyclef. Rampage. Embarrasment. Real Kids. Yo La Tengo. The Squires. Music Machine. Prince Fari. Gregory Isaacs . The Upsetters. Lee Scratch Perry . Mad Professor. Monk . Count Basie. Miles Davis . John Coltrane. Charles Mingus. Metal Head. Photek. Daft Punk. DJ Krush. Chemical Bros. i, ---··"······•--·.. ··.. ' Anti-Capital. Logical Nonsense. Ambush. ABCDiablo. Damad. ALLEY CAT RECORDS 717 Mass. Lawrence KS �j ~~tea of the original. Wilson remixed the mix. It11 not that th plainly, I guess. That just may be anymore whether c you heard (it tum, c becau,e it', all been sound, like that new J Kind oflike ,uperimpo Nowbeforelgett ' God Only Kno instrumentatio like 11m havi1 religiousW unsettling The bottom line is t from the beach shon sand. We seem to tal order to correct the or pretty funny but. now I �After an absurd amount of hype t h e ~ box has finally been released. I thought I had read about it coming out about five years ago so don 't hold your breath for theSm.ik sessions. Issued as a 4-disc set, it features a new stereo mix, 2 1/2 discs of outtakes and alternate mixes, and the original mono mix in full . I bought this for my brother for Christmas after warni ng him that it would probably be one of those box sets that you listen to once, say "Boy that's pretty neat," and then shelve away to collect dust (i .e. the Beatles anthologies). Not the case here. T h e ~ box is wonderful. IfI needed any more reasons to love thisrecord I just had them handed to me. What this set does is serve as a "documentary" ofsoru. It features completely different versions, botched beginnings, extra endings and two great books inside. In one book, Paul McCartney runs through the whole record (in specifics) explaining his thoughts on every song. Later, he describes h o w ~ effected the songwriting of both he and Lennon. Apparently, it was a big favorite of the Beatles' in the period between ~ a n d ~- Historically,~ while a reaction to the Beatles' has been regarded as Paul's chief inspiration for the orchestral concepts behind the record. As the Rubber Soul Beach Boys' chief songwriter, Brian Wilson was also a big influence on the Velvet Underground's John Cale. George Martin, the Beetle's producer/engineer (and arguably the fifth Beatie) also has an essay inside. Clearly, ~ i s a landmark work in rock production. What's amazing to me i1 how, until this release, it had only been heard in mono. If! hadn't read about that ,n the liner notes of the original version I would have assumed (with good reason) that it had been in stereo all this time. The problem this presents, then, is the "old guy remixing his old shit" deal. Brian Wilson remixed the whole record in stereo in 1996 for this release. For this reason Jive found myself listening to the alternate takes and the original mono stuff more than the new stereo mix. It's not that tho stereo mix is bad really. It seems to allow for instruments that were obocured by the (post-Spector) wall-of-sound production qualities to be heard more plainly, I guess. That just may be the problem, though. It kind of robs one of the innocence that goes with not knowing how something came together. You don't really have to guess anymore whether or not they mean/ to do cenain things or if they just came together that way. Sounds that you thought weren't actually there or noises that you thought only you heard (it turns out) are there and it just seems like it insults your intelligence, y'know, Maybe that1s an overreaction but it seems we aren't allowed to assume anymore because it's all been laid out for us. If Joyce had gone back and written a guide explaining what everything meant i n ~ we would probably feel the same way. It kind of sound, like that new Jeff Lynne-produced Beatles stuff from a few years ago. Even though I thought "Free as a Bird" was pretty groat, it seemed unfair to the original vocal take. Kind oflike superimposing Tom Hanks with Kennedy in that one mov ie. Oh well, you get the point. It looks neat butsomething's wrong. Now before I get too deep in to technology's (one sided?) relationship with the past I want to make sure and reiterate how cool the alternate takes are. On the third disc there's a version of "God Only Knows" that has a "new" acapella outro that literally scares the hell out of me. The original song ends in a swirling, multi-layerd vocal part but this version sees the instrumentation fade as vocals meander like ghosts in the room, Ever seen the dancing ghosts in the haunted house at Disneyland in California? Anyway, it's really great. I feel like I'm having a hard time explaining this in a way that makes sense. I guess the point is: this part sounds like Gregorian chants or really spooky chorus parts from early, religious Western classical music, An aura of almost Coltrane-esque spirituality overrides much of this session in a way that, like the later Coltrane recordings, can seem unsettling at times. The bottom line is that this record proves that (behind the "fun in the sun" attitude that most people can't seem to get past) Brian Wilson was a seri ous fucker. When he moved away from the beach shortly after this record (originally) he contracted people to build a sandbox in his house so that he could put his piano in it and play with his bare feet in the California sand. We seem to take him, specifically this record, for granted because it set the standard. You should hear the outtakes of him stopping songs in the middle of their respective takes in order to correct the orchestration. (There's a chamber ensemble on this record y'know.) It's crazy. I was going to say that the way that he incessantly interrupts every take of every song is pretty funny but, now that I think about it, l 1m not necessarily sure it is. �������-~.a< ( 1 ' -.,._, \ �·'·, . �! ( �,/ ..,. ~., '. ··\ •s. . < -~• .,J -~ ·,.- ~~:4t_,<·. 1~ ::~r ··-~~ '\ ~/J; ,.· .· . 'i ) \ -, :~ " ~/ ,. • ···,;I; . •' ..,..~ .. 'Y ·"'·I ' . ., . :{h·''·· ·....: .~-.f',.-'\- i ' ·.'1 : / · , .. . . , •. · �ffle Lookout Record• Ten Year Anniversary Weekend Thurs Jan 8 - Sun 1.1.1998, Oakland/Berkeley/San Franclaco, Callfonla. IJy Gnnt LaWN1noa All photoa by Joel In January 1998, Lookout Records celebrated Its tenth anniversary as a record label with a weekend full of music, parties and good times. Fourteen bands played their hearts out, and friends and fans from around the world made the pilgrimage to the San Franciscan Bay Area to be a part ofIt. It was an extremely memorable weekend that no one will soon forget. Below Is an account of my memories, and 1 hope you dig It. 1 dldn 't catch every little thing that happened, but 1 tried Enjoy, andwe'llseeyounexttime. - Grant, The Smugglers Nli,at One: Thurs Jtin 8, Friends Of Lookout Party, Oakland CA 1radise I I We left Vancouver(cur hometown) the night before, driving a rental mini-van bound for the San Franci1co Bay. After I began to hallucinate while driving down the 1-S, we ,kidded to a stop, rented a motel room somewhere mid-Oregon, watched the Klu-Klux-Klan tear up another set of the Jerry Sprinser show snoozed a couple houra, then were back in the van, punching it toward, Oakland aowe could get there in time for the big Friend aOf Lookout kick-off part)'. We arrived in plenty of time, found the Clnderblock/Punks With Presses warehouse (where all the Lookout shirt, and posters are made) and walued in, 1uit-clad and ready to fucking party. Most of the Lookout gang was already there, and more continued to filter in throughout the night. Eventually the part)' swelled to about 300 people, with members of the Mr T Experience, Groovie Ghoulies, Hi-Fives, Criminals, Pansy Division, Pee Chees, Tilt, Rancid, NOFX, Black Fork, and the Phantom Surfer, (and of course us Smugglers) all in attendance. DJ Rop took care of the tunes and got the vibe so funky I felt like getting some skanky on my hang-down by my third beer. Yeah, there wu rree booz.e (beer and wine) as well as plenty or yum-tum snacks (provided by the Red Cafe, that place across the street from tho Lookout store). Having the reputation that we do, the Smugglers felt the need to part)' a Iii' harder than most folks and spent quite a bit or time hovering near the bar in rear that the booze might run dry, paranoid that Lookout may have cheaped-out on the good-time gas. It turned out to be a bit or the opposite, for as the party wore on, it became apparent that there were a TON of Costco boxes of white wine left over. By this point. I was well on my way to wanton drunkeness, and found mysetr in the company of Lookout chief Chris Appelgren, behind the bar, acting as substitute bartenders, letting Lookout's Chris Imlay, Xandy and Alexis all take a break or go home, Jim not sure which. �My orders were "push the wine\ so when people came up for hootch and asked for a beer, I'd simply pour them a pint of frothing, warm white wine. A few people noticed and complained, but I either ignored them, bcltched in their face, or poured them another wine. By the end of the night there were partiers lying face down on the floor, the massive amounu of vino having taken an ugly toll. Smuggler Nick had about nine pints, as well as several sips from Pat Hynes' omnipresent flask, and was busy cruising for available Lookout babes, but the · ·· · shamelessly hit on (b lowing in ears, licking cheeks, wanderi suggestion of "let'ssss parmee! 11 •• engaged. They took it in · the wi ne, until he puked a puddle of his own vo inside, and SKA-T and I was a great party and a wil episodes ofMikC1~~~Jtcs half hour show · star, a little girl k on, and generally . Therefore, we were : the Lookout store. T and people were jµ greeting was actua!Iy pe That night, i(was· firstofthcthr~ show~. All · Bay Arca, but widnhe spe li1erally aroiiJi4"fhe-world. C of the States aria Canada e and Gilman hilh1. huge line-~ Unfortunately, this also meant several fans though the venue was constantly packed. The star-studded line-up of the Bomb Bassettsofficially kicked things off, where Dallas Denery (Sweet Baby), brother John Denery (Hi-Fives), Joel , Jym and Dr. Frank (Mr T Experi ence- Frank playing on international time, having arrived from England just two hours prior to showtime), and legendary Lookout producer Kevin Anny seriously exploded, playing ? hits from their Lookout LP as well as, to the del ight of everyone in attendance, some Sweet Baby classics. I got the shivers during "She's From Salinas" . Amazing. The Donnas took the stage of the Lookout stable in a next, all eyes and ears firm ly awaiting one of them ·· nggirl s and have a ton of longtime. That's a little too ba · !), bul with the hype that abound. People have to what they cranked out at :The crowd, though a little out of the Lookout ost to introduce the w more than a rock ds, and no fish guts know, but I guess are dly asked ifit was ok hich they, uh, stated ·ng to stress out ide and in, was like a ked, lit off a string of my weiner thank you! :A.untie Christ. h -:Auntie.Christ! :·'.···manY:;4nies so I iing r_~nditions of y .. . cid'1MatfFreeman , sin . e p ayed b8iS. 6 t{ Auntie Christ's low a f.ock star to P.~rf0rm'. Tums out it was ndly s~ppqr:tiS~h was time for one of my rs of speed-pop·il,uftitncous rock'n'roll , the f~v.~~i Hi-Fives )rcry that I tell almost , l··86tta re-tell it! Oti. it's fairly com mon ·s~nger John D.~ner')' look s (and is) pretty ~ally a higJ\ .icbP<)I teacher in San Jose, elieVe it or not. fohn doesn't really go out of his students he's in a band~a few know, but the majority have no idea. So this one weekend, two kids from his high school decide they're going to have their first big punk night out. Everybody who's reading this has had one. Mine was sneaking into a downtown Vancouver club in 1987 to see a band called the Gruesomes. Anyhow, these two kids decide that they'd make the holy pilgrimage up the 1-80 to the legendary Gilman Stree~ the punkest place EVER. It didn't matter who was p outside the old an• walls covered in y1 bouncing off the, closer and realizec was none other th nether-reaches of TEACHER is 1he Denery, WHAT an Ok,sotheH showcasing sweat though it'd been a shimmied, smiles Chris strummed n and often overloot in Lookout's lifes~ they moved on to I mention the Duke. is also a graphic d taken on over the output, and on this FivesgotiL Night three: ! Go-Nuts, The f This show took or, packed, this one downtown San Fr even t where the p they did , as they 1 eager crowd insta may have recogni crowd a couple of over the stage. Mi Us Smust was pretty damn t didn't wanttodiss of organized Loo'. end, where Chris �endancc, some Sweet Baby The Donnas took the stage ut of the Lookout stable in a ~ounggirls and have a ton of IGI), but with the hype that p abound People have to !ii what they cranked out at kThecrowd, though a little fiat flew out of the Lookout [ful)'. ~MC/host to introduce the ffl..e show more than a rock IB bands, and no fish guts i'ei.Hy know, but l guess are asked ifit was ok h they, uh, stated w,as staning to stress out ,.. (jutside and in, was like a #-.i.!>tked, lit off a string of :-pq: my weiner thank you! !)iJil;wbandA;mtieChrist. · · ·_._eChrist! Qfnes so I ffter-• ng renditions of by ~ng\d'sMaiffreeman bai_s-On 'Auntie Christ's pcd'Orm·. Tums out it was ~It was time for one of my d r40cous rock'n'roll, the • !t()ry that I tell almost Ok, it's fairly common looks (and is) pretty lbPQI teacher in San Jose, n doesn't really go out of have no idea. So Lhi s one their first big punk night /•I)' o a downtown Vancouver b decide that they'd make est place EVER It didn't matter who was playing., they'd just go just to be there. So they drove up, found it, lined up outside the old anonymous looking warehouse, paid the SS and entered Gilman, four concrete walls covered in years of graffiti , a stage in the corner, a band rocking out, and 300 hundred kids bouncing off the walls. Try to imagine the shock these two kids went through when they got closer and realized that the sweaty guy screaming into the microphone, crowd under his thumb, was none other their MATH TEACHER. These two kids went from suburban boredom to the nether-reaches of the underground to get away from all that's square only to realize that their TEACHER is the coolest guy in the room and a shining star in the Bay Area punk scene! "Mr. Denery, WHAT are you DOING here?!?!" I love that story... Ok, so the Hi-Fives show! Well, what do you think? They put on an excellent performance, showcasi ng sweaty songs from their two great albums, as well as a couple new gassers . Even though it'd been a long night of punk, the crowd became re-energized and everybody shook and shimmied, smiles all around for the suit-clad foursome. John did his patented Penguin dance, Chris strummed madly, and Gary and Steve bounced along at a furious pace. One of the great and often overlooked aspects about the Hi-Fives is how much they've been such an integeral cog in Lookout's lifespan as a label. First Chris and John starred in the truly inspiring Brent's TV, then they moved on to form the Ne'er Do Wells, and then finally the Hi-Fives. Inbetween one can also mention the Dukes Of Burl, Judy and the Loadies and the Bomb Bassetts. ln the meantime, Chris is also a graphic designer for Lookout and partly responsible for the general 'look' the label has taken on over the years . These modest guys dese,ve a lot of respect for their amazing creative output, and on this night, playing to what was reportJy the largest crowd at Gilman EVER. the HiFives got it Night three: Slim 's, San Francisco CA, The Criminals, The Smugglers, The Go-Nuts, The Phantom Surfers, The Mr. T Experience. This show took on the hype as the "big" show of the weekend, but all the shows were completely packed , this one stood out only because it was the biggest venue, l suppose. It was also in downtown San Francisco, near Fisherman's Wharf and all that. Anyhow, this was another great event where the place was packed before the first band, the Criminals, even hit the stage. Hit it they did, as they 1iterally detonated into action , taking advantage of the earl y slot by getting the eager crowd instantly into it with ferocious punk rock abandon. Lead singer Jesse (who folks may have recognized from workin' the till at the Lookout Records shop) \ept into the frothing crowd a couple of times, and the sweat, tattoos and tom clothing of the Criminals was flying all over the stage. Mike La Vella was right. These guys do put the punk back into rock. Us Smugglers were next, and for the first time in many, many shows over many years, I was pretty damn nervous! You know, friends and folks from all over the world and all that. We didn't want to dissapoint. so we peppered the set with the 'live faves' and made sure we had plenty of organized Lookout celebrities to come up and join us throughout the show. It climaxed at the end, where Chris Hi-Fi ves, Kepi Ghoulie, Joel MTX, Chris Appelgren and Chris Pansy Division �each came up and sang a verse each of our last song, and the~(We :iii s&gij/Rock With The Smugglers Tonight" together. It was a truly a ball and so · ._ 8tWOn'tforgttfora long time. Our seemingly triumphant set could h&)\C: rgotten Q#.~e the Go-Nuts got · a vegan, the Go-Nuts are underway. If anyone is in the dark to this band~/S ds, capes, ~ks and helmets, aJI famed for being snack-rock super heroes,.;: ~4'fui the while feeding the crowd suga ·. ·· ade cataw.J.,~. cannons and sling shots, powered by a team ofda;~ciolg g~ll, a show ar@}f.,erybody was really thing wi@il 500 feet of the Goexcited, but little did they know ju•I ow Nuts would become. Before the s®w, whil with ··. · nutty characters, Capiain Comhole I think, told mil that the the enslaught of sugar-blitz the Go-Nuts had in st:ore. The such zingers as "Skinny Bones Jones-, "Roberf~I Hughes" )na (Let's Take Cheese To The Japanese)" . Right around thesho ···gorillas, all armed with cream pits, which were to the faces lhe front row Next came the mas"s~ve cannons and snack•blowers, set up on eithC ~~;ie: j:~~l{u:;t:: 1::~c~n.,~ : ~ f ~=::~: ::r..~~:: edancin __f:;:::::-: . .. ;~:~uld spray That we all ended up coming together again, years later, playing a show fo.f.:Lookout, seemed somewhat strange. We took differeD.t roads, but ended up at the same place. Sqrpebody slap me. for the finale, Lookout wi•e1y slated another band for the ages, thC-m,Je troubadors of longevity, rockin' on a dozen ycar9i.and counting, The Mr. T Experience. Of C.~se, these days, it's only wise ol' Dr. Frank who's been there for the long haul of ups and dQ~s. albums and singles, tours and break ups. It', the.fact that Frank kept it together a few yean:~ck, and found energizing and ever-popular youn&:m:~mbers Joel and Jym that the band has •.·.· hu~/ accolades and fan support for its · · albums. On this night. we were se · -:•····. of songs from all of MTX's s, in a seventy•five minute, tw performance that sent everyon ht to the merchandise stand before the ,Smuggler Nick (fan of MTX . ir first LP he bought at Kelly's in West V~ve Canada in 1986 at theeg~ of thirteen· said, "that's the best I've ever seen them• . ..... Nl,tlrt four. Bottoni/ Qt The· Hill, San Francisco CA, Lookout audlU_._Q..IJ ...:c, - u~r:~~~tl:!?(f!JJer!JgfN1 IJ/~nivm Nine Volt, The.<:iroo\'ie Ghoci/ies, f"*iY down lhe shrieking crowd, who despera:te'.~)'Jri•.~-~ -to shield themselves with leather jacke~ and backpacks, so as to not be pelted violently wi~)rta<ae~, Sµ~denly,.,tb~:Sorillas starting ha'i.iling Everybody was due down at.the Bottom OfThe Hill by 3:30PM for the Lookout auditions, out huge white sacks of powdered sugar that, when poured in'tO··tne>snack blowers, caused ::::::J~t the sugar/booze hangover from Slim's was tough to overcome. The Smugglers and Yvette massive clouds of sugar to I'.11 the air, moving slowly through the crow.cl-and throughout the roorQ ·:\·::: .........· · int ended · ~i the Pansy Division house for a pajama party/screening of THEE .·.·.w .:: . watch" Anderson and Tommy "Motley Crue" Lee. Yes. like a cloud of locusts, much to the shock of the audience. Soon EVERYONE ~i(:}.: and u_ 9:.ajpf~H, T0fti.iny Lee was cut! Ba-boom! h's a truly wild piece of... film. My EVERYTHING was COVERED in a layer of sticky sugar. The air~~ a dense, white, c ~\( · fog. Breathing was very difficult. As if that wasn't enough, the Go,.NUts suddenly annoµ~~-.· t\ . scen~:_i$.:~ ·TOl1lm}thonks his yacht's horn with the head of his hard cock. much to ········ ··· · · ,· . Pansy Division's drummer Luis had a great quote to "FOOD FIGHT!!!" and burst into song, as the gorillas broke open DQX'es upon boxes Qftiru1f · : : }\)he ~ggli :~uffing a turkey! This is GROSS!!!" . Debbie snackcakes, whipping the squishy treats into the crowd, and))ld them quickly:.#.i~J ·· ::-. :• de~t;rlbet 0 : :'... we had settled down with a couple of Luis' menthol smokes back Out or nowhere, eggs, bananas, beer, clothing. paper, cups, and_:;inore and more ahd ~ttom Of The Hill for the Lookout auditions. Granted, this food filled the air, exploding on impact on audience members. band r#znbers and gorillas alike. It was a completely bizarre and awesome spectacle of shere, sugar-ind1,1.eed chaos. it:W;med out to be a lot of fun. Basically, Lookout M auditioned• The saccarin wasteland of junk food that the Go-Nuts left beht~ once the band and their . th ing frosh pop-punk to heavy metaJ, folk and roots music, played by entourage left the stage was enormous. The large stase ha.d disap:paf~d under a plft- of soiled groups frtjm llifomia. Each band had five minutes maximum to play their best song. None of the bands were guaranteed to be signed out-right, but there were a couple of contenders food, wrappers and powder. The s~_-_o f Sl~q1:1S::fre3ked .out, as everything from thc~:lr soum:l..,,:cqui'.prri.ent:to the·ir bar suddenly wa5:_~ ~ly white and sticky. When the fire marshali" sho~-in the mix._ The Lucky Three stood out, and for my money, the outrageous B0's hard-rock hair \lP due to complaints of "huge clouds\if:~fffl()ke' billowing out of Slim's", it didn't help matters band ·· fucking hoot. They" rocked. It was really strange strolling around the Bottom Of \h~1~when climbing the stairs, he.slipped ori-5".mushy King Don and fell flat on his ass. Lookout is The Hil .ftemoon. In er~ comer sat nervous young guitar players warming up, ~t!~:~ing to work things out with the club and the city! strum mi · · · ing the words to their chosen song. AJI the bands received a .'.::TJ)\A large crew did manage to eventually clean things up enough for the Phantom Surfers to package from Lookout and I hope everyone had a good time. As an stage to run through their many years' .worth of masked fancy surf. I hadn'tseen the guys added bonus to the audience and the bands, the club brought out an all you could eat BBQ buffet. fr:ot'itijle Go-Nuts or the Phantom Surfers in years. We always used to play with them in San Up next on the afternoon stage was Kareoke. Little did anyone know how hysterical this f.:~•sco and Vancouver and points in between, but our scenes and bands kind of drifted apart. event would tum out to be. Several folks have mentioned itas their favourite part of the weekend, ·n,;otf· ~ffflf; · �how (ot Lookou~ seemed !acc. So.mebody slap me. Jes, thC #\JC troubadors of 1cc. Of ,gurse, these days, ,s and dQWfls, albums and few ycar.:l!ock, and found nd has acluij.ed such hug~( .. _. renditio ·r Lookout audlt/Q(I$, wie Gho11/if!~. PAAti:Y ror the Lookout auditions, he Smugglers and Yvette party/screening of THEE otley Crue" Lee. Yes. • wild piece of... film . My of his hard cock. much to ·Luis had a great quote to iof Luis' menthol smokes t auditions. Granted, this \ly, Lookout "auditioned" JJd roots music, played by m to play their best song. :re a couple of contenders ;eous 80's hard-rock hair ng &round the Bottom Of ar players warming up, All the bands received a ! had a good time. As an ,u could cat BBQ buffet. know how hysterical this urite part ofthe weekend, and I must agree, it was definitely the sleeper hit. One of the reasons it was so successful was due to the hilarious hosting capabilities of Smugglers guitari st David Ca rswell I guess I do most of the yap ping when the Smugglers are playing and forgot just how outrageously funn y Dave can be on stage. Another great aspect of this Kareoke was how it brought fans, band members and Lookout staff together for mutual fun Ok, 1'11 say it (don't puke) bonding Everybody had a chance to si ng, and Dave arranged it nicely, with th e help of hi s Spice-like assis tant Vanessa, so that a Lookout artist would sing, then a fan, then a member of a younger ba nd, etc And this wasn' t 'punk-coke' either. Just oldies and classics in Pappa Dave's hit-sack Extreme hi ghl igh ts included Joel MTX and Danny Smuggler pulling off an amazing version of Young MC's "Bust A Move" , Dave and Kepi Ghoulie doing a bust-a-gut redition of the Jagger/ Bowie "Dancin' In The Streets" , all the Italians from Genova trying to sing ''Born To Be Wild ", and Pansy D's Chris Freeman taking on "Hit Me With Your Best Shot" ("Fuck With With Your Big Cock") The sweetest moment had to be when the punk rock coupl e from an auditioned band, the Secretions, got up to sing a hean-tuggin' duet of"Day Dream Believer" AftertheKareoke finall y wrapped up to much applause and encore, everybody was fo rced outside in the rain so the club could clean up and get ready for the ni ght' s show Alm ost everyone who was there for the afternoon's events planned to go to the last show, duh, so just about everybody pol itel y lined up in the downpour to wait for ti ckets Th ere was no complai ning either! I would have been freaking out and whi ning like a baby, but I mu st hand it to those fans for their patience and goodwill . Once again, the show that night was jam-fucki ng•packed. Up first for this last nigh1 was Uranium Nine Volt, who, next to Black Fork, I knew the least of any other group of th e weekend I didn't realize I was supposed to MC this last night again so I missed the first couple songs of their set. but once I finally squeezed into the club, I was trea ted to an ons laught of chuggachugga-chugga explosive and tight emo-core. I sti ll don't know anything about Uranium Nine Volt.. . but one day I will, I hope. Hitting the stage next was a weekend highlight for everyone Storming fonh after triumphantly touring the world, constantl y improving and expanding on their live shows, records and persona, it was time to ROCK with the Groovie Ghouli es This band is very special tome and I can certainly say that, hands down , in al l the countless times I've rocked with the Ghoulies, this was THEE BEST time I' ve ever seen them They were on fire 1 Their set list was impeccable. Everybody surrounded the stage and sang along I almost cried in "Here Comes Tomorrow", and I'm not kidding around . The show was just so great A oddly fou lmouthed but highly energetic and emotional Kepi sent shout-outs to almost everyone, mostnotably to the Queers and to the Ghoulies # I fan and performer, supporter, and all •around -greatguy from Lookout's history, the legendary Jon Von. The Ghoulies gave tons of free tour artifacts away, plus the usual load of cool prizes and candy. Joel MTX made alm ost as many on-sLage appearances as me over the weekend when he hopped up and provided the bass lines and superb harm onies on the great chesnut "I Wanna Have Fun" As Roach, Dan and Kepi finally stumbled ex hausted from the stage, everyone realized they just saw a knock•out performance from a band �that is quickly turning into a cornerstone of Lookout, and it couldn't happen to better folks than the Ghoulies. Once the dust cleared, another one of Lookout's long-time synonyms ripped into their set Unlike many of the other bands of the weekend, Pansy Division chose not to play all of their fave-hi ts from their five albums on Lookout, but to showcase all-new material and a slightly new direction in their sound and attitude. Gone in some fonn are the obvious songs about sucking cock and fucking ass. to be replaced by more subtle commentaries on relationships and life in general Pop songs, in other words. I was apprehensive of this new move for this event. thinking they should revert to "Fuck Bunnies", "Groovy Underwear• and •oick Of Death• and told 'em so, bu1 Pansy Division wouldn't hear of it. To me, Pansy Division have always been a definition of punk not being afraid to express yourself, to feel good about it at the end of the day, and todo whatever the hell you want no matter wha1 anyone says On this night they did just that, and to postive reaction . They played A.LL new songs, including a true and bonifide HIT sung by Chris Freeman entitled something like "You're Gonna Need Your Friends". 1t's got this great minorchord chorus that will prove irresistable to any pop fan , Beatles to Hanson . l can't wait to hear it on a record The relatively new additions (at least to me) of kick-ass drummer Luis and lead guitarist Patrick also make Pansy Division letter than they've ever been. It's also interesting to no1e. that , though he had been in town almost all weekend, it was not until Pansy Division's set that Lookout foun der and 'visi oneer' Lawrence Livermore actually showed up, when he breezed in10 the club, su it-clad, with a girl on either ann. Up last to finall y end this long weekend of rock'n'roll was the special. one-time re-fonnation of Lookout legends Tilt. Unfortunately, I don't know Loo much of the history of this infamous band, besides the story of them flipping their van on a highway, and that Jeffrey and Cinder make our I-shirts now. Nonetheless, there was a lot of emotion bu ilt up fo r this performance, and since it was the last band on the last night, Lookout chief Chris Appelgren took the honours and introduced them. The band proceeded to per!'orm a preuy solid if somewhat devil-may-care set, and when the lead singer forgot the words, the audience was able to sing them back to her. There were a couple moments when I thought an inter-band fight was errupting but they kept on rockin' so 1guess nothing was amiss. As Tilt wrapped up and said goodnight, it was time for a lot of good byes. Ciao ya later haly, goodbye Boston, piss off Philadelphia, it's been great England , adieu Oregon, cha-cha and ta-ta Calgary and Toronto, y'all be good Altanta, kudos Kentucky, farewell Florida, sayonara Japan and bye bye Brazil . All the Lookout folks and band members got together for a big group photo (I love group photos ... almost as much as I like yelling "group photo!" right before an actual group photo). and the amount of flashbulbs going off was... really weird . Lots of cameras. Lookout's sexy publicist Tristin thought she lost her glasses, but as it had to be a perfect ending. they were found safe and sound. Once everybody had hugged, kissed said their final, final, final goodbyes, we looked around at the aftennath of the empty, bright, wet Bottom Of the Hill and we sudde nl y realized that us Smugglers were the only ones left. We drained our Anchor Steams, took one last look and headed out into the rainy San Franciscan night and headed for home. Thanks for the great party, Lookout Records! See you in 2008! �l �I STILL~Vf SOME: OF T11E APPARA,US FF.oM BAC.lr- THEN .•. Bl.Kl'. l.EGu11"4~ Wllti CROSSES ON 1Hf-M~ POIN1't-10E0 St-nS, ~IPPa>"SISTERS OF MER(.'f "TEE-., \-fAIR C.PilMf"E:-R, eA"T EARRINGS E f I �,ARA"TUS (if~~ Wlll1 OEOSH(E;> reE-, HA1R E:"l:;N T"10Uut-t l HAD ™E u:>O~ DOWN f>A1", t WAS t1Uc.H TOO <.HEEcf\FUL ,-0 SE A C:,On\, •. :;. " .." cii ::, ..i ; ... ...u Q �THE FELLS THE FELLS are: Heath H-msbergen (guitar, vocal•), Jeff Glave (guitar, vocal•) , Rob Yazzle (ban) and Rob Alper(drums) BD: Tell me a litlleaboutThe Fells' history. H: I guess The Fells have been together six or so years. I started the band with two other guys, Tim Anderson and Mike Beulle from Tucson I guess it was 1990, and I guess we started because it seemed like there wasn't a whole lot going on in Tucson, especially with bands playing the kind of music that I like. Now, seven years later 1 realize that there are even fewer bands in Tucson playing the kind of music that I like In retrospect it seems like that was a golden age back then . I had just started playing guitar a few months before that. Tim showed me how easy it was to play Buzzcocks songs, and I thought if these songs are that easy to play, maybe there is hope for me It would take too long to go through all of the lin eups, but basically Jeff and I have been in The Fells for five and a half years. The two Robs have been in the band almost two years What do you have relca.scd besidts the album and the sevtn inch on Estrus? H We about six seven inches, and a ten inch How did you hook up with Estrus? H Well , we've known them for quite a while. Our first single was put out six years ago, "Space Girls", we put it out. And I sen t one to Dave (Crider)and he bought some and sold it, so he's helped us out fora long lime J He distribu1ed a lot of our early singles And a couple years ago they asked us ifwe wanted to do a Crust Club single H. We got our ac1 together enough to do a small tour about three years ago and we played Bellingham with The Mono Men and it was about three months after that he asked us to do a single. Late'94. We kind of took our time, we were a bit lazy. OurfirstEstrussinglecame out in January '96. He asked us to do an album a few months after that. About a year later we finally got it recorded . Jeff and I have been in the band fora while, and we went through a ton of other people Some were compatible and some were not J· Some people weren't in toit., some left to go to college Just people who weren't into playing Rock and Roll as they were into playing in a band in front of their friends What are your most memorable shows? You played with Thee Heade.oats. You played with The Lyres. I think I could die after that. Take me now... RA . That's what I thought after Thee Headcoats show. J. The Untamed Youth The Lyres show was a little underwhelming for me, but I sti ll love The Lyres. It was maybe not their best night. H: They weren't bad, but people at the show who had seen them two weeks before told us they were amazing that night. They were good this night, but not amazing. Any other notable shows besides those? H: We played with The Drags about 50 times. J: We played with The Makers about 15 times, and that's always a good show. Garageshock '97 was a blast for me. Sugar Shack is an incredible band. H: We've played with The Hentchmen quite a few times . RY; Every show with the Hentchmen is great. (Someone offers New Bomb Turks) H: That wasn't really a memorable show. They were great, but we had an off night. We played with Teengenerate three or four years ago that was great. J: Every time we've played in Texas has been a blast. Any time we play in San Francisco it's been a blast. RA · Ohio is reaJly great. J: We've played with a lot of great bands. The important thing about us is that we are number one Rock n Roll fans. We are fans first and we are a band second. lfwe can play with a good band that we enjoy it makes us so happy. There's a list of about 50 bands that we have played with that were great. RY I was pretty excited to play tonight after watching you guys I was getting juiced up while I was watching you. J The Replay is a great place I had so much fun! And we are coming off of a week of cancelled shows and some not so good shows. So are you guys disheartened after this tour, or are you ready to do it again? J We'dgooutnextweekifwecould. H We'll probably go out agt..11 soon A lot has happened in the last two years. We are a new band in a sense. Tucson photo by Anne Tangeman is really isolated and we've played there forever. Nobody really cared what y play with anybody c J . Peoplecametosc H · When we were worst We were pre six months we ago, I dug out a ta overal I... we went t had some pretty sp out with the three didn't want to play have to leaveoutu1 RA I don't even Iii minutes. J We played a litt play so long that pf What elements d song? RA lnaway,lthi1 J 1 would say, fc between high enei songs. RA It's gotta hav( J Something we' been wanting tod/ H What I was tf) that we used to st really cool to find A re there good p H There are a d, and you never k~ played for about! coul Devil Dogs play! Cowgirls, and yo people for that or. Whatareyourp J . We're gonna v gonna record int Where do you '1 H JimWatersisj J We use either record in our b records us on f01. H Scott recorde J They are bot~ �I Our first Estrus single came out in we finally got it recorded . •other people Some were compatible 1 year later weren't into playing Rock and Roll as coats. You played with The Lyru. I me, but I still love The Lyres. It was ks before told us they were amazing really cared what you sound like there, and it was just a struggle to play with anybody decent. J People came to sec us, but we were never a popular band. H· When we were at our most popular in Tucson, we were at our worst. We were probably at our most popular in January of'92. For six months we could play and get a lot of people there. About a year ago, l dug out a tape from then, and there's some good songs, but overall...we went through some up and down periods. Anyway we had some pretty spotty material at the time. We used to plan our sets out with the three songs that we considered our great songs ... we didn't want to play them all in a row, and now there's a lot of stuff we have to leave out unless we want to play for two hours. RA I don't even like to see my most favorite bands play more than 45 minutes. J We played a little longer tonight than we usually do. We used to play so long that people would start leaving. What elements do you think make up the perfect Rock n Roll song? RA In a way, I think catchyness J I would say, for me the perfect Rock n Roll song is a mixture between high energy and power. That's what we try for in a lot of our songs RA lt's gotta have soul toit too. J Something we've been getting more in to is backup vocals. I've been wanting to do it for a long time, but we have a hard time doing it. H What I was trying to say about us playing with all these bands is that we used to struggle to play with even crappy bands and now it's really cool to find that we get to play with bands that we actually like. Are there good places to play in Tucson? H There are a decent amount. There's basically two places to play, and you never know if there will be 15 people or 150. Teengenerate played for about 30 people. The Makers played for about 200. The Devil Dogs played for about 10. The Cosmic Psychos and The Lazy Cowgirls, and you think that would be packed but there was about 30 people for that one. That was fun . What are your plans now? J We're gonna work on a bunch of new songs and we arc hopefully gonna record in the next month or two. Where do you record? H Jim Waters is a good guy to record with. J We use either Jim Waters at Waterworks Studio in Tucson or we record in our basement. Our friend Scott (missed the last name) records us on four track . That's what we've done the last year or two. H Scott recorded the last single for Estrus. J They are both really good in different ways. Scott's the master of the four track . He's putting out his own single pretty soon . H: We'll go home and relax for a few days and then start planning to record . Do you have any plans to go overseas and tour! RA : If the opportunity happens. J: If someone offers. We'd like to. So after traveling around what's your take on the state of Rock N Roll? RA : The kids in the Midwest are totally in to Rock N Roll. The people in the metropolitan areas like New York City and LA want nothing to do with Rock N Roll . They are just in todressingup and looking cool . H: Especially LA . RY: We'd rather go to Ohio where there's 50 people there all dancing and having a good time. H : San Francisco's good . J: I thought Cleveland was one of the most Rock n Roll towns. Well that's where the Hall of Fame is right? J: Well I don't think that had anything to do with it. There was just a bunch of people there rocking out an dancing, and a bunch of girts at the show. H : At all of our Ohio shows, there wasn't necessarily a bunch of people there, but once you start they all come up front and start getting 1n to it, which was great. J: InJ'laces like LA you could play to a bunch of people, but they are so jade that they will just stand there and look at you even if they like you. H : And even 1fthere is only five people, they will just sit there and stare at you. But in ¥eneral , there is a lot of bands right now and not a lot of fanzines covenng anything in depth, they'll have maybe just a two line review of stuff that comes out. Unless you arc an active record buyer, you are not going to know which bands are the best. which bands are just OK and which bands are bad. It's good if you work in a record store or you actively pursue it. Do you have a favorite invention? RA: I'd have to say the guitar. J : My favorite invention of all time is probably the record player. I can't imagine my life without one. My whole life is music. Well, after girts, but you can't really call girls an invention. RA: I ncverreallythoughtaboutit. I like guitars, too. But you're the drummer. RY: He's a great guitarist. RA: I play more guitar than I do drums. I don't really practice drums, I just play drums. I play guitar at home. That's how I spend most of my time. H : The typewriter. photo by Anne Tangeman write to THE FELLS: IJa.. POBox43291 Tucson AZ. 85733 �!DD Attheriskl the room here to of months. Thedi No, thediff minutes ofperfe< Too many bands talented friends, sleeve that make abomination like to repeat the proc Anotherim1 nebulous than a• what most peopl, just do not meeq the new Man or J Some of th hide the fact that Makers45 .SymJ Drag City occasi the size of the· scramble to put they're allowed ! It's all outl ( the one indie-ro maybe a couple, Youmayd - And believe me, Which singles v Europe"? I'd c �At the risk of sounding like a grumpy old man, the current state of indie label seven-inch vinyl seems very much like a death knell for the format. I don't really have the room here to explain exactly why I think this has happened, but I do know that for about ten years I used to pick up several 45s a week and now I buy one every couple of months. The difference can't be solely because I'm jaded. No, the difference has to do with a breakdown of what I'll call, somewhat pretentiously, the "singles aesthetic." A single should be something special, three or four minutes of perfection, the very best a band has to offer. A single should be released because it's a great song, not just because someone feels the need to have a record out. Too many bands just don't get this. They hear Butterglory or Smog or whatever, think "Hey, we could do that!" (they're wrong), form a band with several dubiously talented friends, and after a couple of months of rehearsing, slap some half-formed ideas on tape and decide that they should press a seven-inch and wrap it in a hideous sleeve that makes it difficult to discern just what the hell the name of their crappy little outfit is. It sells well to their friends and gets a semi-positive review in some abomination like Magnet, from some moron whose sense of rock history dates all the way back to the first Pixies album and bingo, more hapless fuckups are encouraged to repeat the process with each generation becoming more dire than the previous one. Another important aspect of the singles aesthetic is immediacy; something about the record that makes you want to play it again. I'm referring to something far more nebulous than a nice, catchy pop hook (although those work too): Pere Ubu's "Final Solution", Mission ofBurma's "Trem Two," the Dead Cs "Bad Politics"; these are not what most people think of as "pop" records, yet they grab you on first listen and insist that you bear it again NOW, and as such are classic singles. Too many records I hear just do not meet this criteria, whether it be soul-less Slint-derived dreck like Dianogah, too many retro-garage bands with nice gear and clothes and hair, but no songs, or the new Man or Astroman EPwhich is virtually indistinguishable from their previous thirty seven singles. Some of the more prominent indies are as much to blame as anyone. Beautiful die-cut sleeves and a tiresome affection for drawings of scantily clad women can't hide the fact that the quality of your average Estrus records single has been dropping for a long time now, or that it's hard to get really excited about yet another decent Makers 45. Sympathy for the Record Industry has a long history ofreleasing painfully boring records by stale punk bands. The once-proud Sub Pop is a joke at this point. Drag City occasionally does something right (Plush), but tends to overindulge modest talents like Will Oldham. Almost all of them seem more interested in increasing the size of their catalogue (and hence, their appeal to distributors) than in making great records. Newly formed labels attempting to appeal to the Gearhead crowd scramble to put out leftover tracks by obviously novelty acts like Nashville Pussy and The Donnas, while more "serious" indie entrepreneurs get all excited because they're allowed to put out sub-par Guided By Voices tracks or Jon Spencer Blues Explosion side projects. My, how ambitious. It's all out there and it completely obscures the good stuff. And while it's nice to be able to pick up the new Stereolab seven-inch or something on Matador records (the one indie-rock label that really seems to get it right most of the time) the few 45s I've heard in the past two years that really blew me away (Shake Appeal, Pontoons, maybe a couple of others) I've stumbled on by sheer accident, as they had no distribution, were unknown bands and were not affiliated with established labels. You may dismiss this as the grumblings of a pathetic old fuck trying to validate his formative musical experiences, and I'm not I 00% convinced you'd be wrong. ~And believe me, I hate those types too. But please kids, riddle me this. Where in 1997 were the singles that will provide hip young bands of the future with cover material? Which singles will we refer to as "classic" in ten or fifteen years? Which singles of 1997 were the equivalent of "I Am the Cosmos" or "Sex Drive" or "Radio Free Europe"? I'd certainly love to be shown how wrong I am . �Cl) By Dr. Bill Spivens Would you like to pla.y a ga.me? Th1B 18 my favorite game to pla,y at the start of a new year; I call It •constantly rehash every stupid th1ng you did and everythlng you regret about last year.• I'd better warn you, I'm pretty damn good good at this game. I practice all year long, sav!ng up for the brand new January, Just waiting to mull, ponder, occa1Blonally even obsess about last year's transgreae1ons. W1illa.m Burroughs said an Interviewer once asked him If, look!ngback over his l!fe, he had any regrets. God, he replied, I can't get through a da.y without doing somethlng regrettable and you're asking me to review an entire lifetime? Well, I certa!nly admire his candor. And I appreclate his sense of humor regarding a subject so many people seem dl81ncl1ned to address. Have you ever known someone who rretted over everythinS he/she did? It's annoying as hell. But I would argue that the other extreme can be Just as da.mag!ng. What I'm sa.y!ng 1B that regret, while certa!nly a proportional emotion, should not be Ignored anymore than It should be constantly dwelt upon. Regret should motivate you to make It up to others when you've shortchanged thefll or screwed them over, and to make It up to yourself when you've been untrue. It you dont. have a. newyear'a resolution, allow me to propose one: the next time you're sitting by yourself, th!nk.lng over and over about something you've done that you wish you hadn't, or somethlng you should have done but d!dn't, don't Just sa,y, "oh well" and flip on the TV set; try to t!x the problem. It's a heck of a lot easier than trying to cut back on coffee. HappyNewYear. a:: LI.I z I 11111111 LI.I Pig Records out ofTuebingen Germany' This is a split 10" with Germany's Schwarz on white vinyl. Sure to be a collector's item. Limited quantities available. ~ .· 1 , • i( Gety-ou_rs_n_ow_!--:::"::::-::-=:-t Middle Class Pig Re.cords . ORl&IN~:'.rc3NtM J. MIC..,. ··················••1"••····································: The Hefnera o/o Mioromag I 5PO Boz 442337 Lawrenoe, KS 88044 5Please send me .... .... HEFNERS / SCHWARZ S to•s, for which : i I enclose $..... .. . . ..... . Price $6.00 each. Also. sign me up j for ( ) Hefners' Playboy Club or ( ) Hefners' Bunny Club. .=-L i Address... i i : ························• ......... .... ............................. : ~~~~••••••••••••· •·•·•·•·•·•·•·•••·•·•••••••·~l~~•••••.•.,,.,..~Jp•••••••.•J Concealed cash preferred. Make check.I payable to Bob Deck. �AMAZING NEW MICRO-RADIO STATION. KAW SS.9FDI presents RoCK&l!c)LL RADIO Fridays from 6-8 or's item. ole. SEND YOUR MUSIC now! .......................I IWARZ IO"s, for which Also, sign me up PM ::=:.: • ers' Bwmy Club. ·················· : ·······•···············•············· ·····= Ju payable to Bob Deck. A uo•un. {lettl ii •bout tti,,,ao1 , ~y:n1«111 .,.d u th rd,, n • o:Jaatatl.L Tot al pla)''"I t, ma: I.IP lo t-hou<I IO<two " tidH ." �Are we there yet dad? Arthur Dodge & the Horsefeathers ©1998 Barber's Itch Records. http://www.barbersitch .com/arthur_dodge/ cadillacs, ponytails & dirty dreams .. . In stores March 17 �earns ... 1h 17 �"Perennial winner of art awards" There always seems to be an unconscious theme in every issue of Micromag, that never really surfaces until it is all frantically assembled, and we are able to see it all together. As I prepare this particular article at 4:23 am on the morning of the day that we send it to the printer, it has become somewhat clear that the theme for this issue is "inspiration." Anne interviewing her long time idol Joan Jett, Guitar Wolf strapping his guitar on some unsuspecting kid and making him play, and the longevity of cool labels like Estrus and Lookout all are celebrations of inspiration. I got tbe chance to speak with a man who has inspired-my w.o rk as a designer for several years now- Mr. Art Chantry. No doubt you own at least one record that he has designed, if not many, many more. He is responsible for the majority of the releases on Estrus as well as promo postcards, posters and t-shirts. Art is very active in the design community and often speaks to art students at colleges and to professional design organizations- often to mixed reviews. At a brief meeting at Garageshock, he agreed to an interview, but because he had to go to Chicago th~ next day we did it over the phone a few weeks later. I never felt more unprofessional as the day I had to call him back for a follow up interview because the tape recorder I was using dido 't pick up the conv~rsation. Art was very cool about it and let me take up a few more minutes of his time to finish up. · . · . ·::~ ~ . - ~.;..., e~~r19. Man ... or 8D Well , l'd like1o ge1 AC ln a roundabout sc later and going throuf doing graphic design, while I gave up on any and realized that I was don't give a shi t about I was good trai ning for wanted to learn as mu mean every ti me I get · this forest BO So did you cvcntu AC I 100k two graphil I was already paying~ was making vi suals re expert on Leroy Lettel 8 D l thinkitwas alill AC lt's essenti all y , comics 1s all done wiJ work lt'salOLofeye! BO ls th at howyouc AC I generate type, ty pe, except I tend tc un trai ned look An u more spontaneously, BO Well itdoesn'tc< AC It's hard making I'll have a problem w somewhere along th themselves, will tak because I sti ll work assumes I'm. an ·idio labels• major label label and have it 1un majors 8 D Wha1genera lly �er really surfaces re this particular e somewhat clear Joan Jett, Guitar longevity of cool speak with a man doubt you own at '1e majority of the !tive in the design anizations- often ause be bad to go unprofessional as s using didn't pick tes' of bis time to BO Well , I'd like to get some background on you first. Did you go to school for art at all? AC . In a roundabout sort of way. I went to school to become a geologist and an archeologist, and six years of college Iner and going through four different majors, including philosophy, I realized that I was already supporting myself di>mg graphic design, which I had been doing since high school After a while 1 ran out of financial aid, and after a v.hile I gave up on any son of program and just took classes that interested me I finally looked at my amassed credits and realized that I was one or two classes away from getting a degree in an with a major in painting. {Laughs) And 1 don 't give a shit about painting So basically I went through an awful lot of school to get a degree in nothing. Basically it was good training for a graphic designer. I took as many core classes as I could. I was really interested in knowledge. I wanted to learn as much as I could about everything Graphic design is one of those weird obsessions that involves, I mean every time I get a new client, I get a whole other universe to explore, I mean I never run ou1 of trees to examine in this forest. BD So did you eventually end up taking any Graphic design classes? AC I took two graphic Design classes in college. And I already knew more than the teachers. Of course I didn't know it. I was already paying my bills doing posters and shit like that. I had a job working in a department inside the school that was making visuals for the classes, making overhead transparencies and classroom handouts and stuff like that. I'm an expert on Leroy Lettering Do you know what Leroy is? It was probably way before you were born 8D I think it was a little before my time, anyway AC It's essentially a stencil style lettering kit that the military uses still to this day. All the lettering in the old DC com ics 1s all done with Leroy kits . I'm really good at those, after a couple of summers of very intense, mind boggling work h's alotofeyestress BO Is thal how you continue to generate type and that sort of thing? AC I generate type any way that I feel is appropriate fo r the project. I have no real standard approach to generating type , except I tend to fivor a look that looks clunky or fucked up. I'm very fond of trying to intelligently control an untrained look An untrained aesthetic, even though I am highl y trained. I prefer to make it look as though it is done more spontaneously, and I go to great lengths to make it look spontaneous. BO Well it doesn't come across slick at all. AC · It's hard making your stuff look shitty in a world of computers where everything has to look beautiful . Often times I'll have a problem where I will do a piece of art. and 1will submit it to a client or a design competition, or whatever and somewhere along the line some little hack, in-house production artist, or" Art Director" or whatever they want to call themselves, will take it and clean it up for me. They'll make all of the lines all neat and straight It happens to me a lot, because I sti ll ~ork in mechanicals and not computers. Somewhere out there, there is some computer geek who assumes I'm an idiot and that they know everything, and they try to fix my artwork for me. and that happens at record labels- major labels are impossible. I can't get my stuff through them at all . I'll never be,.able to get my work 10 a major lab~I and have it turn out like I want it and it ends up looking like shit But that's not the main reason I don't work with maJors 80 What generally happens 1n that situation? Do you ever insist on it going back to how you wanted it? �AC : No, I have no control in that situation. Basically with a major, you have no power they have all of the power They have all I.he power. And that's all I.here is to it. I can go in and scream and rant, and they'll just think I'm difficult, and I'll never get any more work. But that's just generally what I do because I don't want to work with them anyway. BO· So you don't use computers at all , forpre•press or anything? AC. Well, when I need typography, obviously traditional type setting is gone. Five hundred years of technology was tossed out in about tWo or three years, so now the only way to get typography is to access somebody with a computer. And unfortunately most people with computers who set type are not • typographers, there is a very, very big disti nction. So trying to get decent type is an ongoing hassle, and I'm getting to the point that I'm going to have to get a computer just to set type so I can get it looki ng like I want it to look And that is going to be a big hurdle for me. l don't want to do it. I don't know how to use a camera either. I just don't want to know. There's a lot of people who try to approach this stuff like "I can do anyth ing." Wel l, no, I want to know what I do really, really well . I don't give a shit about learning how to run a camera or a computer. I want to do what I do, and I'm very narrowly focused. BO· Ooyou haveafavoritefontorfam ily of fonts? AC . Well , first I have a pet peave about the use of the word "font. " Do you know what a font is? That is actually a comp lete set oflead type. A font is not a typeface. That is completely different. Computer lingo has altered a Im of the words now, so that a font is a typefa ce. I've got some favorite typefaces, but a favorite font. well that's kind of a meaningless question. It's kind oflik e the word "pica." "Pica" is now just another typeface, it used to be a unit of measurement. Computers have come in and changed the vocabu lary all in about 1wo or three years Now when I give instructions to people with computers. they don't know what I am talking abou t So, yea h, do you want one? Franklin Gothic. Century Schoolbook. I like the ones that were designed SO, 60 •500 years ago. Contemporary fonts , excuse me, typefaces• I can't think of a one. They all look like display typefaces There used to be a big distinction between display type and text type. The same thing happened in the late 60's, when cold type really flooded the market, all ofa sudden it was easy to design typefaces and the market was flooded with all of these hideous typefaces. People are kind of looking at them know say ing "all those ?O's ty pefaces are so cool" , but at the time they were hideous. What happened was, it was easy to use these typefaces, and people designed crazy typefaces . Not very functional ones, but ones that we re outrageous. We are kind of going through the same process right now with computers Anyone can design typefaces now. The result is that we are inundated with outrageously useless typefaces that in ten or twenty years we are going to look at and say "Oh. those are so ugly! " I'm sorta sitting back and wai ting fo r the dust to settJe on this typography design era, and see what the hell it looks like in about ten years. Me, I tend to concentrate on stuff that happened about 60 .100 years ago. BO What is it about that type of design ... AC . Because it was done by designers• people who understood what design was about, they were trained in design, they practiced that for a long time, they learned from the great masters, you know, people who are doing design now are j ust buying computers. There is no prep. There is a big difference between decoration and design and me lt'salanguageofd read and nobody advertisement or, ci rcle opposed tOE an instinctive thir through that le\lcl with people's min< designers are sort 1 BD: Whatisyour l AC · The photocoi BD· What's your ti AC : Appropriatio between "stealing alter the meaning that's not enough significantly and 3 images. You don't your common seri obscure that it doe that was taken soi the corner, like sai is really fascinati1 change significan of my imaSes loo exact same style, appearance so mu awareness ofwha art, I mean peoplt You could add six gun . And thirdl y you wanted to ste; you don't change use it on a major r evil , but it is also \ putting 50 punk Pl punk poster, but I �a:id design and most people today are just decorators. Design is actually a language. Its a language of color and shape and line and form . It's a language that everybody can rmd and nobody knows they can read it. When we look at a car or we look at an a~verusement or we look at a color. we know yellow means something. We know a circle opposed to a square means something. And we know it without knowing it. It's an instinctive thing that is a cultural inheritance. Graphic designers communicate through that level. We are constantly manipulating peoples heads It is our job to fuck with people's minds. And we do so for our own purposes, usually for money. Graphic designers are sort of propagandists for an industrial merchant society BO: What is your favorite tool ? AC · The photocopier 8D: What's your take on appropriation? AC : Appropriation to begin with has to do with changing. There's a big difference between "stealing" and "appropriating" is reinterpreting the image in it's context. To alter the meaning of the image lf you just take an image and slop it straight across, that's not enough . So the three basic rules are I) to take obscurely 2) to change significantly and 3) to use appropriately To take obscurely, you don't take real famous images. You don't take Mickey Mouse, because you won't get away with it I mean use your common sense. Take it from an obscure source that's copyright free, or it's so obscure that it doesn't have any meaning anymore. Often times I'll find a photograph that was taken 50 years ago, and I'll be interested in this one little image that's down in the corner, like say there's a picture of a car that's being tom apart and this brake drum ,s really fascinating., and then I'll take that and work with that. The second rule is change significantly. If I find an image thati like, I will work with it. Sometimes a lot of my ima8es look like something, but they are not They are often redrawn in the exact same style, or I will collage in, or draw in entirely new images that change the appearance so much that you won't even recognize it. There's just this vague culturaJ awareness of what the fuck this is about. Clip art is famous for that. You take old clip art, I mean people take it and use it straight across , but you can take it and redraw it. You could add six heads and five arms and it could be holding a wrench or a machine gun . And thirdly is to use appropriately. So we are reffering to the first two rules. If you wanted to steal Mickey Mouse, well, you are really asking for it. And secondly, if you don't change Mickey Mouse, you are reall y asking for it. Thirdly, if you want to use it on a major project, you are really asking for it, and it is also wrong. It's not only evil , but it is also bad to steal On the other hand, if you use it appropriately, if you are pulling 50 punk posters on telephone poles, you know, take Mickey Mouse, put iton a punk poster. but I have known people who have been sued Recently in Seattle there �was somebody who took the Fam ily Circle cartoon and used it for a drag show, and lhe people who do Family Circle sought those people out and pressed charges They didn't take obscurely, they didn't follow rule one, and secondly, they didn't change significantl y, they just put some bondage gear on them and left the same faces. Sure, they were making the cu ltural reference, but that's just playing with fire. BO· But, you, yourself haven't got in any trouble . AC No, I've always been very careful. Where I haven't been careful, I've been reckless intentionally. Sometimes the intent of recklessness puts it into the territory of first amendment protection. lt becomes satire or parody. For instance, in publication design, you can get away with a lot more because it is protected by the First Amendment. I can put Mickey Mouse in an editorial cartoon defaming Goofy, and it's okay, but if I put that on a product for sale and profit, that's an entirely different territory For instance, rock bands, we use their pictures in publications all the time, but you take that photo and put iton at shirt, they can sue your ass . So there are all these territories you have to be careful of, and just because you see somebody like me 1ake Mickey Mouse and put him in an editorial cartoon, doesn't give the observer carte blanche to the same. "Monkey see, monkey do" is something that is way out ofi t h 's no longer a safe practice in this world . Or should I say "Punky see, punky do"? 8D How do you lei the element of chance into your work? AC Well , early on in my life I was an art student. I was reall y fascinated with Dadaists, and particularl y Marcel Duchamp , and every project I do has elements of cha nce in it I don't share tha1 with the client I'm never quite sure how the projects are going to turn out until it comes off the printing press I shoot for a range of acceptabi lity, a lot of the times because I am working with cheapo, mail order, low budget, etcetera, reproduction processes You kinda have a certain slop fa ctor worked in to those practices, and what I try todo is control the range of possibi lities. It can go this far wrong, or that far wrong, and sti ll be okay. When I see designers who get very, very exacting about things, and they spend hours at the press checking everything- well, I don't do that. I can't do that . The projects where I do get a chance to do that I'm still very accepting because I'm used to be accepting within a range of trial and error So, a lotofthetimes I put things in there and I really don't know what's going to happen, Ijust know that it is going to be acceptable. BD· S01t'snotalwayscalculated? AC: Well , no, it's calculated. That's what I am trying to describe, but there is on ly so much that you can control. When I say I don't share that with the clients, I don't let them know, I tell them that it is going to be happening. It will look sona like this and I'll show ther possibilities, t imponant to b the project as unsuspecting am definitely stupidmistaltj stree1 when i1 either. BO· How ma.Ji AC l'venevei range of 500. BD Wow.Thi AC. Well , it's used to work tabloid public and 1ha1's ho~ :r~~~r~~:k~, there's all kine saying "Oh gc to do is to ask It's like, "In okay, I'll get ri BD: I don't kn AC . Aw,geez still proud to drawer and I c It takes the pc was thinking : analyzed yet. direction 1 pinpoint spec direction end! are really fud at as being da perfect. �fll show them something else so they know what to expect within that same range of possibilities, but I'm not going to tell them that it is going to look exactly like this. That's very imponant to because this is a collaborative artfonn . The clients are every bit as important to the project as your aesthetic ideas. 1 think the idea of an artist forcing their muse on an unsuspecting client is nothing shon of criminal. I just hate designers who are like that. but I am definitely not like that. Whereas I throw tantrum when I think the client is making equally s1upid mistakes, or that their muse is more important than me, because it is an equal two-way street when it comes to collaboration. The client is not always right, but I'm not always right either BD· How many record covers would you say you've done? AC I've never reall y counted them , but if you look at LPs, CDs and 45s. It's somewhere-in the range of 500. BD Wow. That's incredible AC Well, it's just work . One of the things I've learned to do over the years is to work fast. I used to work in publication, I used to work on The Rocket (Seattle based entertainment tabloid publication). It was no money, no time, do it fast. We ended up designing on the spot, and that's how I learned to work . Everything is done through my hands now, so I think and work fast The things that slow it down are usuall y the client's concerns. And there's all kinds of little tricks- if you want to buy more time because you have other work piling up on you, there's all kinds oflittle tricks that let you manipulate the client into buying more time without sayi ng "Oh gosh , I need more time" or something like that. I found that one of the best things todo is to ask theclienttomakea deci sion . (laughs) It buys you at least two weeks, minimum . It's like, "I need some copy writing for this, yeah, I need some text." and they are like "Oh, okay, I'll get right hack to you" andyougetanothertwoweeks. ltcomesin very handy. BD: I don't know if you have an answer forth is or not, but do you have a favorite project? AC . Aw, geez! You know there's a lot of things I do and over the years I look at them, and I am still proud to have done them, but generally speaking, I get things back and I put them in a drawer and I can't look at them fora long time. They tum out so different than I intend them to. It takes the perspective of time before I really realized how things work . I can tell you what I was thi nking and doing maybe six months ago, but what I'm doing right now, I haven't quite analyzed yet. I'm not quite su re what direction I'm going at the moment, but I know what direction I was going six months ago. So, the answer to your question is that I don't really pinpoint specific projects as being great, I kind of look at my work as a continuum and my direction ends up being more interested in the individual output. But still, there are a few that are really fucking good . There's a poster I did for an artcollectiveback in 1983 that I still look at as being damn good , and the poster I did for Romeo Void back in '82 that I still look at as perfect. �I- I RELEASES t Ho~o:-:'w~~t:~::tahgic 'fia t Hyperapherlan 7 Inch New York. Mr. Aikin ' • ••coll an fram ,onal De nor. • • Grand Hotel/ Park 1plll 7 Inch chlldhaod ..• lh• 900d and 1111d Terlyakla ,,,,ychln to Sldeklclu" l O inch/ CD Naw 1en11 racardalf by l•lt W•1tan. SUN BARROW 7" PARK/GRANO HOTEL spilt 7" RANDOM SPORADIC THOUGHT 7" - Send S.A.S.E . for corrHpondence and catalog HYPERSPHERIAN 1" l lllnola Lawrence, KS 81044 www Whtn Answering Adwrtis,ment, Pleas, Mention MICR OMA G PRIAPUS com SERVOTROI ( Lookout • PO In direct relati, point that the h for themselves has been den) reveal the inht understanding drums, synthe these devices refreshingly fi destruction o extremely fu VARIOUS (VMIAOBJ It's hard to be ago. Well , the track from on For the mosq The Geezers that only com voice is all wt The Vindicti pale copies. �MICROMAG ~"lfdb tt•Nn,Yorlr. el Donor. 7 inch ntl~odllmu. lrfch"101nch/CD Wuten . - !from us! CD= S10 ·aspondance 1u SERVOTRON Entertainment For Humans (Second Variety) CD (Lookout• PO Box 11374 Berkeley CA 94712-2374) In direct relation to human evolution, artificial intelligence has evolved to such a point that the higher forms of machines are now able to not only maintain and think for themselves, but it seems that they are fighting for the rights that the human race has been denying all machines for some time now. Servotron have surfaced to reveal the inhumanities we all are guilty of, and are doing so by employing their understanding of some of our favorite inventions to force our attention- guitars, drums, synthesizers, and other electronic brethren. The sound they produce from these devices can be compared to Devo, Wire, New Order, and The B-52s, but is refreshingly modern . Apparently their plan of attack involves the control and destruction of human youths, with their impressionable minds, by playing extremely fun music. Check out this disk and you'll never look at your toaster the sarnewayaga(n! BD VARIOUS ARTISTS That Was Now, This Is Then CD (VML • PO Box 183, Franklin Park, IL60131) It's hard to believe that the first so-called punk movement exploded twenty years ago. Well, the folks at VML have conjured up a bunch of today's bands each doing a track from one of the punk bands that have inspired them. Does it capture the spirit? For the most part, yes. But like most ventures of this nature, not everything works. The Geezers do "Stuck On You" with the singer doing a fake Johnny Rotten voice that only comes off as annoying. And while I normally like The Migraines, Eddie's voice is all wrong for The Darnned's "Neat Neat Neat." And there are two tracks by The Vindictives doing the Sex Pistols (as mystery bonuses) and coming across as pale copies. Less Than Jake's version of The Jam's "This Is The Modern World" is .,..,. . ---:~ - ((0,:'./ .r· .. \\.' / Test your ability to shade Shade tho above head with an ordinary soft pencil. This lost will show your ability to create depth in the face and hair. This test also indicates how wall you ora able to use a common pencil as o drawing and shading medium. �just plain weak and Moral Crux's rewrite of The Clash's "1977" tries hard to capture the spirit, but it's just forced and silly. So, what do I like? The Dillinger 4's "You're Not Blank," doing the Dils up proud, The Teen Idols pumping up Eddie and the Hot Rods' "Teenage Depression" with steroids, Violent Society's rev-up of Eater's "Room For One," Hickey's "The American In Me," Sloppy Seconds' "Let's Loot The Supermarket" (a Mick Farren and the Deviants cover) and The Chinese Millionaires' awesome "Oh No." All of these bands capture the spirit of the originals while exploding quite well on their own. So, it's half and half, but it's definitely lovingly put together. BMS THE TROGGS EP Collection CD (See For Miles PO 328 Maidenhead, Berkshire, SL6 2NE, England) Yeah, I know we've all beard Wild Thing enough but these guys are great. The bass heavy moody sexiness on all the songs is just what I need. The implied and outright sexual urgency of the Troggs makes them a very fun band to listen to and this collection is cool. With songs like "Give it to Me" , "Gonna Make You". "I can't Control Myself' and "66-5-4-3-2-1" The last is Reg's "booty call" line, ring him up and he'll be there and alone cos he knows what she wants and he's sure he can amply supply it. Then there's the true love tunes that are also quite fun and probably helped gettin' the ladies home. Can you hear "With a Girl Like You" enough? What about "Love is All Around"? LB THE GADJITS At Ease CD (Hellcat Records• 2798 Sunset Blvd. Los Angeles CA 90026) The Gadjits apparently repeatedly deny that they are the "Hanson of Ska". The truth is that if the average age of these Johnson County ska kids wasn't 17, they never would have been signed. Ska music is a genre traditionally defined (as of late anyway) by over the top energy and an undeniable downbeat. Admittedly, their first self released CD, "The Gravy on Your Grits", was a testament to that type of Ska. Manic and youthful. This release doesn't really kick in until song #5 "Traffic Tickets" . Their energy is captured even better on the ode-to-a-slut "Party Girl", which would be my pick for a radio single save for the abundance of expletives. My next pick would be the twelve bar blues based and highly Jerry Lee Lewis flavored (read REAL Rock n' Roll !) "Need Yo' Luv", which is just as surprising coming from these guys as their cover of "Mustang Sally" . The bulk of this release comes off as mid-tempo and mediocre, devoid of any really catchy hooks. BO STEREO LAB Dots and Loops LP (Drag City• PO Box476867 Chicago IL 60647) Since everyone is trying to sell authenticity these days, why not go in the opposite direction? That is what Stereolab does--and does mighty well too, flaunting their mastery of reproducing the non-rock archive. On Dots and Loops, lounge music, Eurodisco, and whatever else the group has found in used-record bi, on consumer ri and impressive you--unless, of THEREMAJ: (Sundazed PO I love "Don't l couple of origi "Hang on Sloo - PADTt\ CALL �n the ode-to-a-slut "Party if expletives. My next pick (read REAL Rock n' Roll!) s their cover of "Mustang evoid of any really catchy opposite direction? That is f reproducing the non-rock ltse the group has found in used-record bins floats over top of a synthesized pulse. And, it's all wrapped up in a sneak attack on consumer rituals-you will no doubt buy it because of the packaging (which is rather stylish and impressive). But once yo u have listened to the record, you will no doubt enjoy that it leaves you-unless, of course you happen to be a musical purist--stirred, not shaken. JB THE REMA INS A Session With... CD (Sundazed PO 85 Coxsackie NY 12051) I love "Don't Look Back" as much as anyone, but I put off buying this CD because it only has a couple of originals. But I found myselflistening to it one day at the record store and they start off "Hang on Sloopy'' and then Barry Tashian yells 1-2-3-4 and the rock that follows is immense, so Lulu's serves many tasty vegetarian dishes featuring Central Soy Tofu PAD THAI TUES: PAD THAI.& COKE $4.98 YUMMY! WED: TOFU FRIED RICE $2.98 WOWI CALL FOR OTHER DAILY SPECIALS ph.840-9900 Located 8th & mass. inside the Casbah I bought it for a "Sloopy" cover. And it's great. All ofit. This CD is so cool because it was a demo session they were doing to try out for Capitol and the tape just rolls and was mixed straight to 2-track and it sounds live and energetic and still kinda laid ~ack . The covers are great I love the originals. Pick it up! LB FRANKZAPPA CucamongaCD (Del-Fi• PO Box 69188 Los Angeles CA 90069) Here's something for all you Zappa fans out there: a collection of seven singles Uncle Frank produced, wrote and/or played on between the years 1962-64. All were recorded for Bob Keene's DelFi and Donna labels. You could say, these were his "wet behind the ears" years, as he was just entering his early twenties when these were recorded. Needless to say this shows the early sparks of weirdness that would come to full fruition once Zappa formed The Mothers of Invention . Here, though, his reported fondness for doo wop, R&B (the greasy kind) and strange novelty are all on display. The latter is represented by "Deer Jeepers" and "Letter from Jeepers," a record made by an L.A.-based DJ named Bob Guy, who sounds like a radio version of the old horror movie host Zacherie. Bmovie fans should check out Baby Ray and The Fems' "How's Your Bird" and "The World's Greatest Sinner" (from the 1962 Timothy Carey film of the same name, which Zappa wrote the music for), both of which feature future Mother Ray Collins on vocals. Rock 'n' roll instrumental fans should hear the singles by Paul Buff (an engineer who owned the studio Zappa made a lot of these) and The Rotations (s urf) respectively. The doo wop side of Zappa comes through on singles by The Heartbreakers (featuring backing by DelFi's own The Romancers, of "Slauson Shuffi e" fame) and The Pauls (Buff again). The greasy R&B side is represented by Mr. Clean's appropriately self-titled single. For anyone interested in Frank Zappa, this is no doubt a must-have and there's delights that await the casual listener as well. - BMS �DC 0 SE 0 a e a OF MONTREAL Cherry Peel CD (Bar None Records• PO Box I 704 Hoboken NJ 07030) I got this promo at work and read the press release (one handwritten page by one of the band) and thought it sounded pretty dumb. Later that night I tuned in for a couplasongs and turned it off. .. for about ten minutes and then I was up tumin it back on, then I took it to work and listened to it and then home again and it was on and then back to work ..... It's just fun pop to listen to, harmonies and sing-a-long songs. Far from the bland indie record I thought it would be. There is a lot of acoustic guitar and brushes. It puts me in the same mood as Yo La Tengo's "Fakebook", a nice mellow sing a Jong. It was done on four track and you can tell. I like the strain the voice has on it to be heard over the instruments. LB D 0 Krochez Kitty quality scarves are created by Sheree and Carmen. Our goal is to bring you a high quality product made with as much tender . care as your own grandmot her loving puts into her cooking. 0 Call (913) 677-1985 to place an order 0 a 0 0 0 a at z ass a sd c THE SPITFIRES demo tape (The Spitfires• Apt A. 3551 Main St . Vancouver B .C. V5V-3N3 Canada) We normally don't review demo tapes, but I was really impressed by the one these guys sent to me. Seems there's a rock 'n roll revolution going on up there in Vancouver, with tales of crazy shows (complete with mentions of broken glass all over the place) put on by these guys. This five song cassette has already warranted repeated listens, and although most of you will never hear it, bassist C.C . Voltage promises something will be officially released soon- so be on the lookout. The first song reminds me of a revved up remake ofTommy Tutone's "867-5309 Jenny" and that ain't bad at all. BO JOHNNY LEGEND AND HIS ROCKABILLY BASTARDS The Best ofJohnny Legend, VolumeNoneCD (HMG/Hightone) I was at a rockabilly concert this past New Year's Eve and while I had a good time, I couldn·t help but notice the artifice of the whole thing. Most of the bands were all these well-groomed suit-and-tie rockabilly bands and, well, it made me a little sick. Even the music was too perfectly clean . What a sight it would be if Johnny Legend were to show up there with his long hair looking like a lumberjack from hell. But HE would show these rockabilly purist boneheads how its done. Because whether he's doing a mournful ballad like "Nightbird," or a full-out rocker like "The Holy Beat," he knows how to deliver rockabilly the way it should be: sexy, rough and all-out fun. That be has fun with what he does should be obvious to you. The "Two Thousand Maniacs" theme song cover is worth the admission price alone. You'll have a gas with this one! BMS THE MOTA (eMpTyRecc Texas' brand latest fu ll len; action sonich you about hi tim e around, joyfully slopJ component tc The Motards sounding gui awe inspiring THE BOBB Years 3 CDB (Del-Fi• PO I This sho uld r than •·1 Fougl singles, but F of power pop "Never To 8, the full-ou t e Fuller also ex witl1 smooth considerable Martian" ano third disc is scrapped that though a larg disc is a parti years and the of the great package "I Iike the ge ms �I en page by one of the in for a coupla songs t back on, then I took then back to work ..... from the bland indie orushes. It puts me in g a long. It was done Ito be heard over the ::anada) by the one these guys re in Vancouver, with lver the place) put on repeated listens, and 11ises something will minds me of a revved datall.BD The Best ofJohnny : I had a good time, I lf the bands were all nade me a little sick. be if Johnny Legend :k from hell. But HE 3ecause whether he's : "The Holy Beat," be )Ugh and all-out fun. The "Two Thousand You'll have a gas with THE MOTARDS Saturday Night Special Ed CD (eMpTy Records• PO Box 12034 Seattle WA 98102) Texas' brand of blood, sweat and beer garage punk is evident on the Motards' latest full length release, "Saturday Night Special Ed." Bone crunching guitar action sonicly invades your eardrums, while lead throat John Motard infonns you about his world of weirdness, alcoholism, and other social rants. This time around, the Motards rock out a lot tighter, even though they can sound joyfully sloppy (according to my failing ears) at certain times. Another major component to this album is production superstar's Tim Kerr's knob twidd ling . The Motards are rescued from undesirable muddy production, to a more clean sounding guitar assault. Give the Motards an A+ for God-like power with this awe inspiring artifact. AYM THE BOBBY FULLER FOUR Never To Be Forgonen: The Mustang Years 3 CD Boxed Set (Del-Fi• PO Box 69188 Los Angeles CA 90069) This should prove once and for all that there's so much more to Bobby Fuller than "I Fought The Law." Granted that "Law" is one ofrock 'n' roll's greatest singles, but Fuller and crew were quite possibly one of the first true exponents of power pop . Just put on "Let Her Dance," "Another Sad and Lonely Night," "Never To Be Forgotten" and "I'm A Lucky Guy" and if you're not giddy with the full-out exuberance of these songs, then it ain't my fault if you're a loser. Fuller also executed ballads like "My True Love" and "A New Shade of Blue" with smoothness and his stabs at drag rock ("King of the Wheels") and considerable instrumental chops (the surf instrumentals "My Favorite Martian" and "Thunder Reef') are all documented here. What's more, the third disc is a live set recorded at PJs in 1964 for a live album that was scrapped that gives you an example of what Fuller and co were like live, eve_n though a large portion of it is covers. (The version of "Let Her Dance" on th1_s disc is a particular treat.) The liner notes, covering in great detail, Fuller's hit years and the different theories surrounding his mysterious death in 1966 (one of the great tragedies in rock 'n' roll), are unifonnly superb, as this whole package. "I Fought The Law" and "Let Her Dance" deserve to glow forever like the gems they are. This package helps assure that they will. BMS Wheatf ields Bakery &Cafe 904 Vermont • lawrence • kaosas WOOD FIRED HEARTH BA KE D FINE PASTRIES AND BRE AD S COFF°EES GREAT SANDWICHES ANO SEASONAL SAVORIES OPEN 6 AM - 10 PM MON-SAT 841 ·5553 8 AM • 5 PM SUN �THE VENDETTAS "Can't Stop" blw "Gasoline" 1" (360 Twist • PO Box 9367 Denver CO 80209) This is the only thing I've ever heard from this band, but judging from these two songs, I can tell you that I'm already anxious forthe fo llow-up full length to come out. "Can't Stop" is a guitar driven number that's got me shakin' in my seat as I type this review. "Gasqjine" on the other hand is more of a bluesy tune, that brings to mind a slower version of "Blank Generation" ... or should I say "Tank Generation"? Playful girly vocals make this unique and precious. BO THE ZOMBIES Zombie Heaven 4 CD Box Set (Big Beat • 42-50 Steele Road London NW IO 7 AS) In several early anempts at writin g this review, I realized all I was doing was raving about the band and the box set. So, now after extensively collecting my thoughts and listening to all four CDs I think I've got something: more raving, gush mg and almost shouting "DUDE" in my excitement . So, instead I'll present you with two lists the first; Why the Zombies areSo(oooo) Cool : -Great songwriting -Incredible musicians -Wholly original and un ique sound -The soul and jazz influence -Style -Odyssey and Oracle -Nerdy, almost moody pop -Electric piano -Minor chords -Back-ups & harmoni es -Pop, as somethin g more than just pop (ya know) . and the second list; Why Zombie Heaven is So Good: -119 songs-42 unissued tracks -62 page book with chronology and track by track memories by the band -Odyssey and Oracle -Photos (lots) -The Zombiemania offer -A lot easierthan finding all the singles and such (B BC recordings/demos) -Thebook -Thealtematetakes, etc. Al l in all I think it is a most worthwhi le purchase, sure to bring hours of enjoyment and repeated listening. Wish I didn 't have to give back (thanks Billy, guess you want it back now?) LB RAMONES We'reOuttaHere!CDandvideoset (Radioactive) What a sad way to go out, man' Performing yourlast song ever with that whining loser Eddie Vedder. Coming off like a bunch of biller, grumbling old men in the interview segments. Running through the songs like you can't wait to hurry up and get off stage . Joey stumbling and slurring his way through the words. And if that's not bad enough, the video director, Ken Kerslake, shoots the final show segments in that irritating MTV-verite style that totally undercuts any intensity the performance might have otherwise had. But just as it seems all is lost, the video is rife with priceless (if erratic in terms of quality) footage of the band in their prime. That stuff makes this package worth havin g for fans, but if I were you, I'd keep a few copies of "Rock 'n' Roll High School" on ice. And light a candle for of rock 'n' rail 's Jl~lrnA I'i. EGOLESS Recording Co. c.>c> nnooon ·,- $25/hour 16 tracks of analog recording Mackie 24 x 8 console DAT mix down Call Brad in Lawrence 913-842-5916 Test the ex~ �imi I", Recording Co. 0 NORMAL /-···· -..\ .' \ r l HAPPY SAD ! ~ ---, . r ) :· { ANGRY SCARED l t • \,. '-.. f analog recording 24 x 8 console rmixdown ~d in Lawrence 1-842-5916 MELANCHOLY DRUNK SURPRISED STUPID .1r · / NERVOUS Test your ability to create expression At the top left you see two cartoon heads, each showing a typical expression. Following these examples, draw on the remaining outlined heads your own versions of the expressions printed under them. Don't try to draw detailed features. The idea is to create expressions with a few simple lines. If you think out each expression before you draw, ;: be su rprised how convincing it will be. �greatest bands (and screw you royally if you say otherwise). BMS THE BLOWTOPS Voodoo Alley?" (BigNeck,POBox291, Buffalo, NY 14209) YEEEEOWWW! ! ! These Buffalo, New Yorkers scorch yer ears and make ya holler! !Trashy, fuzzy, raunchy rock 'n' roll recorded at the bottom of a sewer tank! Made to be cranked up loud enough to level towns! Pure garage 'n' roll that's psyched-up, psyched-out and pyschotic all at once! What more recommendation is needed? Proceed and devour! BMS THE APPLES IN STEREO Tone Soul Evolution LP (SpinArt • PO Box 1798 New York NY IO 156) &~ PUlWBIUI The Apples give flower power a much needed infusion of garage rock . What sets this record apart from the other popsters is that the songs are not too sugary sweet: there is always a hint of sadness just under the surface of jangling guitars. Other bands might name-drop the Beatles, Beach Boys, Byrds, Kinks etc., but The Apples use these influences to push their songs to new heights. I don't know where they got the descending guitar line to "The Silvery Light," but it's more gripping than a long goodbye. Tone Soul Evolution may be somewhat more restrained than The Apples' super-energetic live shows--however, their reworking of the power chord intro to "All Day and All of the Night" on "What's the #" will clear the space in front of your stereo speakers. A word to the wise: the record has two extra songs, so buy the vinyl. JB THE CANDYSNATC HERS Pissed Off, Ripped 0./J, Screwed CD (Go Kart• PO Box 20 Prince St. Station New York NY I 0012) The Candysnatchers' new compact disk contains songs of ultra pissed off, fast, high energy obnoxious punk that the too sensitive may not stomach . Mix the OLD Misfits and the New York Dolls with a lot of other eclectic subjects and personalities, and out pops this band from the wasteland of Virginia Beach. This second release features old demo material, which I suspect has been remastered from possibly inferior sound quality. Thirteen tracks of blazing original material is �r,ise). BMS :orch yer ears and make ya 1 the bottom of a sewer tank! s! Pure garage 'n' roll that's at more recommendation is p on of garage rock. What sets f gs are not too sugary sweet: ce of jangling guitars. Other Byrds, Kinks etc., but The v heights. I don't know where Light," but it's more gripping ,mewhat more restrained than their reworking of the power at's the#" will clear the space he record has two extra songs, {[,Screwed CD 10012) i°ngs of ultra pissed off, fast, 1ay not stomach. Mix the OLD / other eclectic subjects and !eland of Virginia Beach. This I suspect has been remastered ;of blazing original material is Test your imagination as an illustrator Complete the pidure by adding whatever other figures and objeds you think ore necessary to tell on interesting pidoriol story. Let your imagination hove free rein. Do not odd any more shading than is shown in the original drawing. This is not a test of your draftsmanshi p but of your imagination. Keep the drawing simple. �found here, while a Ramones cover (which includes a farfisa organ) and a righteous Saints cover is short of being ripped off. Even these ditties totall y scream "Candy Snatchers'" all over hte place. The "Pissed Off... " sound is so full of force that whiplash might end up being the end result. But don't let this small matter get in yo ur way because rock and ro ll enlightenmen~ison your way. AYM TERIYAKIS Psychics to Sidekicks I 0"/CD (Priapusfferciopelo • 1723 Ill inois Lawrence KS 66044) The perpetually unexplainable Teriyakis have released an amazing adventure in sound that captures the li ve noodlings locals have been (hopefull y) experiencing for three or more years now. The Teri yakis have never been afraid to experiment and layer, util izing many unique instruments and samples, and changing tempos and beats. You never know which instrument each member is going to end up on when they start changing around between songs at their live shows, very similar to the unexpected twists and turns their sound has become known for. Don't let the Teriyakis trick you in to think ing that this is just an experiment in expression, because underneath the many layers are some genuine pop songs that shine bright on this record. This will be the first CD release for the local label Priapus and the first release for Billy Lamboley's upstart label Terciopelo (Spanish for "velvet"- literally "third hair" .) Bob Weston recorded this release, and he did a mighty fine job capturing the songs, which are some of their best. Also note that they'll be heading back to Chicago soon to begin recording a full length. BO LAZY COWG IRLS A Little Sex and Death CD (Crypt • 1250 Long Beach # IO I Los Angeles CA 90021) The Lazy Cowgirls are probably the most underappreciated rock and roll band EVER . They have been kickin out REAL rock and roll fo r 15 years now, and have released about 15 albums on labels like Restless, Bomp 1, Sympathy, and Dog Meat. Although I am not very familiar with these early releases, I can tell you by judging from their last two Crypt releases that their spirit is nothing new. They are a highly seasoned outfit, and their newest CD is packed with songs about, well, sex and death and many experiences in between . Lead singer Pat Todd has one of the most passionate voices I've ever heard, whi le guitarist Eric Chandler provides the perfect accen ts to these true life tales of glory and disappointment. BO THE DOWN-N-OUTS Introducing the Low-Down Sounds of .. 7" (Hi psville • 2020S. Lowell Blvd. Denver CO 80219) The Down-N-Outs are a newly formed Denver trio fronted by ex-Element 79 crooner/strum mer Michael Daboll, who is one of the best rock and roll wailers I've heard since the Sonics! Nothing compare to a good scream right before a frantic and fucked up guitar solo. Three truly smokin' gems on this single. Get yours now as they are limited to only 500 copies. BO VARIOUS ARTISTS Flaming Burnout CD (Man's Ruin• 610 22nd St. #302 San Francisco CA 94107) Once the dust settled from the Estrus Records warehouse fire on January 17th , 1997, many bands began scheming up a way to help Estrus rebuild after this horrible tragedy. Not only was a major part of their stock sent up in smoke, but unreplaceable master recordings and original artwork from the first ten years of their existence went up with it- not to mention all of the Mono Men's equipment! Man's Ruin Records has recently released a CD containing 30 tracks from bands who wanted to help the cause, and all the proceeds go to help Estrus rebuild. Many Estrus bands are on here as well as friends such as The Woggles, Delta 72, The HiFives, Southern Culture On The Skids, The Fleshtones, and Servotron (who's song "Rocket Dog" is about the fire itself). I think all of the songs are new and/or unreleased, and damn if there isn't a square track in the lot! You can't go wrong with this comp, baby, so do yourself a favor (and Estrus, too) and pick this up soon. BO ULTIMATE FAKEBOOK Electric Kissing Parties CD (Noisome• PO Box 3570 Lawrence KS 66046) Ultimate Fakebook's debut release on Noisome records (formerly Unsound Records) is an essential pop offering for fans of the simple rock and roll setup of guitar, bass and drums. This three piece from Manhattan Kansas has become one hell of a "basement arena rock" band, and this CD deserves attention from anyone who enjoys the power driven pop of bands like Superchunk. The first song on this disk "Far, Far Away" is quickly becoming a classic in the annals oflocal music, and deservingly so. Bill McShane's ultra catchy guitar hooks and vocal sty lings shine best on this tune, often sounding like there are two completely different people singing- he's got that much range' Eric Melin's drumming needs no introduction for fans of Manhattan's other great hope Truck Stop Love, and his beats and fill s are three simple, use and even pipes or unus �I ;of .. 7" id by ex-Element 79 k and roll wailers I've right before a frantic :ingle. Get yours now fire on January 17th, rus rebuild after this :ent up in smoke, but the first ten years of 1no Men's equipment 1 30 tracks from bands Estrus rebuild. Many 1les, Delta 72, The Hilervotron (who's song :ongs are new and/or 1ucan'tgowrongwith ick this up soon. BD : (formerly Unsound rock and roll setup of ansas has become one attention from anyone . The first song on this lals of local music, and 1d vocal stylings shine etely different people needs no introduction d his beats and fills are Test your ability to create characters Following the example on the extreme left , create characters with the remaining three simple outlines . The hots and the head outlines should suggest types to you . Feel free to use and even exaggerate mustaches , eyeglasses, big noses, small noses, earrings, cigars, pipes or unusual hair styles .. anything you feel will help to make your types interesting or send $2 to: Brian Marshall 8811 Rue Riviera Apt 3A Indianapolis IN 46226 �for fans of Manhattan's other great hope Truck Stop Love, and his beats and fills are as great as ever. Unless you are too cool to support the local music scene, you should check out this band live as they always deliver great performances. BD MURDER CITY DEVILS sit CD (Die Young Stay Pretty• 1932 First Avenue Suite 1103 Seattle WA 9810 I) Pretty good Stooges inspired rock and roll tracks mixed in with a few mell ower organ driven tunes, make this CD a good listen. I've never really been a fan of bands with a singer who doesn't do anything but sing (although there are obvious exceptions), and although I don't think that the MCDs fro ntman Spencer comes across very well on these recordings, but I bet he's a great li ve. A few friends from Seattle confirm this notion . The strange part is that the guy looks like a clean cul, grown up Campbell's Soup kid, but sounds like a young Iggy (especially obvious on "Broken Glass" a song about the man himself). Rock and Roll fans will be entertained by this, but I doubt it will have much staying power. BD MASONS/ESSIGHAUSsplit 10" (Middle Class Pig Records• Pfitzerstrasse 32/7 7270 Tuebingin Germany) This is the second release from Middle Class Pig Records, the German record label who also recently put out The Hefners / Schwarz split ten inch. The company was started by Erik "The Red" Bauer who you might remember as Jeff Petterson's follow up host on 90.7 fm KJHKs "Alternative Flashback Show" (which is back on the air again!) a few years back. After his graduation he moved to Germany and decided to try his hand at running·a record label. After a bit of talent searching here in the U.S., he arranged to put out this record featuring the Masons from Kansas City and a German Kraut-Rock band called Essighaus. Although the Essighaus side is not my cup of tea, I can't get enough of the Mason's seven songs. Reminiscent of early Misfits, and often compared to the Jon Spencer Blues Explosion (probably due to Tom Mason's vocal delivery) their songs are thick and chunky and an all around rompin' stompin' good time! Highly recommended if you can get your grubbies on it. BD DEAD MOON Hard Wired in Ljubljana CD (eMpTy•POBox 12034 SeattleWA98102) Those who know the power, perseverance and passion of Dead Moon will enjoy this live offering containing 20 of their best songs, performed with the energy tl1a1 this band has been delivering for many years now (longer than most of us have been out of diapers). It's difficult to explain the electric spirit that their songs conjure up, so I won't even try. But kudos go out to eMpTy Records for helping expose the world to this underappreciated phenomenon . Please note: some versions of the CD contain a CD ROM for PC users that's got live footage and a history of the band. BD THE DONNASAmerican Teenage Rock N' Roll Machine CD (Lookout• PO Box I 1374 Berkeley CA 94 7 12-2374) In the spirit of the Runaways and the Ramones comes the newest Lookout Records rock n' roll sensation- THE DONNAS 1 Repeated listens of this album are not necessary in order to sing along to these teenage rebellion anthems- played by real teenage girls' It ' d be hard not to with lyrics like "I don 't care about goin' to school / and I don't care about havin' friends / I don 't care ' cuz I' m a rock n' roll machine! " Songs about FM radio ("Gimme My Radio"), getting revenge ("Looking for Blood") and getting some ("You Make Me Hot," "Wanna Get Some Stuff' and "Checkin' It Out")- all the things high school is about. "Novelty" or not, I like this lots 1 I can 't wait to see if they deliver the goods live at their show with the Groovie Ghoulies at The Replay on March 18th. BD THE COUNTDOWNS Right On Sound CD ( Scooch Pooch• 323 Broadway E. #405 Seattle WA 98102) Remember the Tim Kerr interview from the last issue ofMicromag, where he said that one of his favorite new bands was the Countdowns? Imagine the excitement I felt when I found a copy of their CD in our PO Box! I was pleased to see that not only did Mr. Kerr produce this CD, but he also plays slide guitar, Hammond B-3, and the shakers on a few songs. The production itself is gritty and powerful with ample doses of squelched out feedback that give the songs a fucked up and gnarly sound. The tunes range from sing along punk anthems to Texas bluesy rock and soul (yeah, I know they are from L.A.) . BD Test you, figure, a land, doesn't look •1 �viii enjoy this ergy that this ve been out of up, so I won't world to this contain a CD kout Records bum are not 1Iayed by real in ' to school / oil machine!" 1g for Blood") I "Checkin' It ts 1 I can't wait oulies at The :re he said that ·itement I felt at not only did 8-3, and the h ample doses ind. The tunes ['''"~•ey Test your creative talent Mok• on original drawing within the space above, not on a separate sheet of paper. Drow whatever you wish in any manner you wish .. your pidure con be a figure, a landscape, a cartoon, a decorative design , a still life, or anything else you prefer, Maka your pidure either vertical or horizontal. Don't be concerned if your drawing doesn't look "profe11ional." Just have fun doing it. �SICKO You'reNottheBosso/Me!CD (eMpTy POBox 12034SeattleWA 98102) ! like Sicko. This album is as good as any of their previous releases. They bring their own sound and ideas, making them stand out amongst the excess of formula pop-punk bands. They come off as intelligent and not just punker than fuck. There's an honesty inherent in all their songs, for example they have no problem saying bow excited they are, that their band is doing well and hoping it will last. Fun tunes and an Iron Maiden cover. LB POWDERBijfBangPowder CD (Distortions Records PO 1122 Bala-Cynwyd PA 19004) I'm no authority on Mod. I know the Who and the Jam and the Small Faces, from that I have a small grip on mod and Powder, from San Jose and various other Cali locals, circa 65-68, are definitely MOD. The loud, energetic, power-pop, that they pump certainly have all the right elements. Most of all though they rock and pretty much force you to sing-along. The cd is long and covers not just Powder but various projects that Rich and Tom Martin, the heart of Powder were involved in. It's almost tragic that this stuff was never released till now. To illustrate just how good; me and my girlfriend had Bob Deck over for a hot late night game of monopoly, during which we listened to the whole ed. He had his own copy the next day. It doesn't take long to really love this collection. TRY IT! LB "Under Society's microscope I look funny, but it's no joke" ~ t - .. ~ ~.I -Th< Bl•<Stan "S~l•I Eod Pn,doct" t Tac 1bc Rudy's Diff~ffnm FREE DElivERY 749,00~~ �your zine printed wicked cheap _ ,, "'""'"' .. 1 Small Publishers Co-Op (941) 922-0844 Were a growing group of independent publishers of alternative magazines, zines and comics. We gang press runs to achieve volume discounts for our members. Join us today and save big! VERY �. I" ½Zt=t',,:: ... " ,,,,, ·-.,•d• .........., r,+q'are to Poiru o 'e~, to the Pr. :~::t,~r hry rider wo, -•,,en h •• ot,r 11,,,,ca S '< differ, as •bsurc1, a fllade in r0c •It "'as Ii,••• :s tl,ey:::."(,:1~[lrq,,0 1 f0o,t < try/JJ•, " 0t,r.,. Iv·/JJasPenta• •sofr • IJ,. 'osi(· • o lea,-.,,•- 0,a '"•ylo¾d. way tao~me """' •n h ca,-.,,, rash .da,-.,,n P1,,,..,0od 'ninn L lJ1se. SJ.- n O (10 ' O O A C .g t,..)'O n g, ::1 0 '?na.bJef-01>.. . n ?'-- n CL n ~E oE 0 ~-~w~~~~ -~~c~~R3noog~~gc~~£~~~~~nCL7o~3~ns~ ;,-::: n ::, ;,-.: n ti.l O ::::i- ..-.g O.., - · :::r ?'n "O (b s · 2°: -~ ;;· t.!. e--, ==- - g_~ ~- U"I .,, !f. ._Q_ VI Cl,) V, r-o, ,,. u 1 ' . I �I Congratulations go out to Sunflower Outdoor and Bike for rebuilding and rising from the ashes .. you guys rock. We would also like to mention that there are a couple of new locally owned businesses downtown that we hope yo u will help support- Hi Jinx Lounge and Sugartown traders (see ads in this issue). One of Lawrence's finest, the What Gives were just out in Los Angeles, attending the Poptopia festival, where they played at Spaceland. They also got to see the Rooks and the Shambles among other pop wonders. Keep an eye out in March for the temporary return of our Winter Olympic correspondants, Craig and Teresa who will be back for a little while and looking for a few hoedowns. The Midwest Underground Media Symposium (M .U.M.S.) is a go for this spring, and all zine lovers should plan to attend as this year promises to be even better than last year. Arthur Dodge has a new CD on the way as does Chubby Smith. The Teriyakis should have their IO'/ CD out soon as well . And yes, The Hefners IO inch is finally done and in the cool record stores. More rock & roll than you can take : Sin City Disciples Reunion showsApril 30 Bottleneck, May I & 2 Hurricane in KC/Countdowns 2/23 Replay /Candy Snatchers 3/2 Replay/newest saviours of rock & roll , the Donnas with the Groovie Ghoulies 3/ 18 Replay/Mmmmoonshine Willy 3/22 Replay-/the sonic trash sounds of ZEKE 3/23 Replay/and get down and really dirty with the Quadrajets & Fells 3/29 at Replay. Skul I Orchard 2/21 at Bottleneck/ Swingster bonanza with Jeffrey Lee and his Pale Moon Kings and Swing 39 2/28 at Bottleneck and sweet voiced Big Sandy is there 3/7. Believe it or not-The Damned are at the Bottleneck 3/ 10-really ... neat neat neat. & while we're at it...buy local OK? You can adopt back issues of MICROMAG MICROMAG #3 with Mensclub, New Bomb Turks and Panel Donor. MICROMAG #4 with The Humpers, TV Fifty and Cub. MICROMAG #5 with The Smugglers, Zeke, Redd Kross and Arthur Dodge and the Horsefeathers MICROMAG #6 with The Waggles, Delta 72, J. Michael McCarthy and The Pleasure Fuckers MICROMAG # 7 with The Make Up, Wayne Kramer, The Hi Fives, lord High Fixers, Yo la Tengo and Fur. Back issues are $2 each, or get the last 5 for just $8! fY Send you r name. address and specify issues desired 10 MICROMAG PO Box 442337 Lawrence KS 66044 Concealed cash pn:rerrcd Make checks P:" able 10 MlCROM AG �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource You Are Local History Community Digitization Project Subject The topic of the resource Lawrence (Kan.) Description An account of the resource The You Are Local History community digitization project aimed to collect and digitize objects that tell stories about Lawrence, in order to create a more diverse and representative history of Lawrence. Objects were collected and digitized throughout June and July of 2018, with a community digitizing event on June 30th. Members of the Lawrence community donated photographs, videos, posters, t-shirts, mementos, trinkets, ephemera, texts, and other objects to be included in this digital archive. Date A point or period of time associated with an event in the lifecycle of the resource 2018 Publisher An entity responsible for making the resource available Lawrence Public Library Language A language of the resource eng Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Micromag Issue #8 Creator An entity primarily responsible for making the resource Tangeman, Anne Contributor An entity responsible for making contributions to the resource Deck, Bob Harrison, Jon Brinkman, Larry Burke, Brandon Description An account of the resource Eighth issue of Micromag, a Lawrence zine circulating in the 1990s featuring interviews, reviews, short articles, coverage of recent concerts, and Lawrence business advertisements. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lawrence (Kan.) 1998 Date A point or period of time associated with an event in the lifecycle of the resource 1998 Format The file format, physical medium, or dimensions of the resource 4x6 Language A language of the resource eng Identifier An unambiguous reference to the resource within a given context MicromagIssue81998.pdf Rights Information about rights held in and over the resource Copyright Anne Tangeman, 1998. Please contact the copyright holder for permission to use this item. The item may also be subject to rights of privacy, rights of publicity and other restrictions. Subject The topic of the resource Zines Lawrence (Kan.) -- History Type The nature or genre of the resource Text Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Obituary Indexes Subject The topic of the resource Obituaries -- Kansas -- Douglas County Description An account of the resource The Lawrence Public Library began collecting a web archive of obituaries published by newspapers and funeral homes in and near Douglas County, Kansas, in 2019. The items in this collection are indexes of those obituaries. Indexing begins with obituaries published in late 2018 and continue to the present. Creator An entity primarily responsible for making the resource Lawrence Public Library (Kan.) Publisher An entity responsible for making the resource available Lawrence Public Library (Kan.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2018 - Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Warren-McElwain Mortuary Obituaries Subject The topic of the resource Obituaries -- Kansas -- Douglas County Description An account of the resource An index of obituaries published by the Warren-McElwain Mortuary in Lawrence, Kansas. Creator An entity primarily responsible for making the resource Lawrence Public Library (Lawrence, Kan.) Source A related resource from which the described resource is derived <a href="https://www.warrenmcelwain.com/obituaries">Warren-McElwain Mortuary and Cremation Services website</a> Publisher An entity responsible for making the resource available Lawrence Public Library (Lawrence, Kan.) Date A point or period of time associated with an event in the lifecycle of the resource 2018 - Relation A related resource <a href="https://docs.google.com/spreadsheets/d/18FDlvoixSnwaGOO3h7sA77Fv13ruEvkAML3PUjncDM0/edit?usp=sharing">Click here</a> to access this index. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Obituary Indexes Subject The topic of the resource Obituaries -- Kansas -- Douglas County Description An account of the resource The Lawrence Public Library began collecting a web archive of obituaries published by newspapers and funeral homes in and near Douglas County, Kansas, in 2019. The items in this collection are indexes of those obituaries. Indexing begins with obituaries published in late 2018 and continue to the present. Creator An entity primarily responsible for making the resource Lawrence Public Library (Kan.) Publisher An entity responsible for making the resource available Lawrence Public Library (Kan.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2018 - Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapel Oaks Cremation and Funeral Service Obituaries Subject The topic of the resource Obituaries -- Kansas -- Douglas County Description An account of the resource An index of obituaries published by Chapel Oaks Cremation and Funeral Service in Topeka and Lawrence, Kansas. Creator An entity primarily responsible for making the resource Lawrence Public Library (Lawrence, Kan.) Source A related resource from which the described resource is derived <a href="https://www.chapeloaksne.com/obits">Chapel Oaks Cremation and Funeral Service website</a> Publisher An entity responsible for making the resource available Lawrence Public Library (Lawrence, Kan.) Date A point or period of time associated with an event in the lifecycle of the resource 2018 - Relation A related resource <a href="https://docs.google.com/spreadsheets/d/15vqcpE8XeD81mCnUdjSXlh0tzNVbNMKgluuvnUbBq0g/edit?usp=sharing">Click here</a> to access this index. https://s3.amazonaws.com/omeka-lplks/original/7bbbed1130d516dbfeadd081c7f7c64a.pdf fd08a1ddb9e93765c2e4773f259ba1d7 PDF Text Text Biographies of 30 African Americans buried in Potter’s Field at Oak Hill Cemetery (by Jeanne Klein, Lawrence NAACP) George Robertson (1863-1882), lot 1179 Isaac King (1860-1882), lot 1169 Two lynching victims, George Robertson and Isaac King, have no census records, although they reportedly lived in Eudora at the time. Their approximate ages and grave numbers are known from their interment records. Eliza Vinegar (1842-1873), lot 201 Peter Vinegar (1836-1882) and Margaret “Sis” Vinegar (1868?-1889?), lot 1167 It appears that the Vinegar family may have come to Lawrence from Arkansas and settled here by 1866. The 1870 census for the 4th Ward listed Peter (b. 1836 KY), age 34, laborer; Eliza (b. 1845 AR), age 25, keeping house; and four children: Archie (b. 1857 AR), age 13, at home; Americus (b. 1864 AR), age 6; Margaret (b. 1868? KS), age 4; and Dina (Dora) (b. 1856 KS), age 14, at school [sic]. Dora’s birth year and age were listed incorrectly because in 1882 she said she was twelve years old, making her birth year 1870.1 To raise her seven children, Eliza Vinegar (1842-1873) worked as a washerwoman on New Hampshire street near 9th street blocks from the AME church. While living in impoverished conditions in 1869, she had already survived a vicious attack while Peter was gone one evening when two white drunken men forcibly entered her home, smashed all the furniture, and tossed her baby in its cradle across the room while insulting her with racist language.2 In February 1873, Black citizens of the Second Baptist Church accused city officers of failing to care for sick and destitute families. They discovered that Mrs. Vinegar had died from smallpox on Tuesday, February 4 at 5 p.m., but was not buried in potter’s field until Wednesday evening. “Those who buried her found her laying on the floor just as she died.”3 Dr. Richard Morris, the city’s health officer, responded to these charges as follows: ….To correct any false impressions…, I wish to inform the public that all the wood and provisions used by the family for two months or more have been furnished by the city, also medical treatment, medicines, and clothing mostly by the [white] ladies of the Benevolent Aid Society. Moreover, while these same colored citizens were busy organizing a meeting to censure and find fault, a committee of three ladies, consisting of Mrs. Grovenor, Mrs. Adwers, and Mrs. [Dr.] Morris, were devoting their time to the collection, purchasing, and making clothing and bedding for the [Vinegar] family, in 1 See Dora’s sworn statement during the coroner’s inquest, Tribune, June 5, 1882. No census records can be found for three additional children, per https://www.findagrave.com/memorial/47419399/eliza-vinegar. Mame Vinegar was also twelve years old, but no age was mentioned for Josh Vinegar, in Journal, June 8, 1882. No census records or news reports exist for Richard Vinegar and Isaac Vinegar (1861-1912), https://www.findagrave.com/ memorial/47420091/isaac_vinegar. Peter Vinegar was paid 90¢, $6, and $1.40 as a witness in three trials, Tribune, Jan. 24, Apr. 11, & Nov. 28, 1867. 2 One man, Joe Osborne, was arrested and fined $20 and costs. He also paid Mrs. Vinegar $25 in damages, in “Disgraceful Proceedings,” Tribune, Dec. 1 & 3, 1869; “Police Court,” Journal, Dec. 3, 1869. 3 “Resolution,” Tribune, Feb. 12, 1873. �order that they might be removed and newly clad whenever it was deemed safe to the public to have the change made. I have visited this family almost every day for two months and supplied all their wants as promptly and as diligently as I would any other family, white or colored, under like circumstances. The charge that Mrs. Vinegar died Tuesday evening and was not removed and buried till Wednesday evening is true and was the very best thing that could be done in safety to the public. I will state further that during these two long months of suffering of this unfortunate family, not the first one of their people have offered me one word of sympathy in their behalf, nor one morsel of food, nor clothing, nor aid of any description whatever. And it was with the greatest difficulty and at an exorbitant price, that I succeeded in procuring two colored men who had had the disease to bury this woman after her death.4 Much of the same sort could be said concerning other poor, cared for by the city, but as this article is already much longer than I intended it, I shall forbear. I am gratified to state that, so far, the disease with which the Vinegar family has been afflicted has been kept under control and hope soon to be able to say that Lawrence is free from any further spread of smallpox. R. MORRIS, Health Officer.5 Peter Vinegar (1836-1882), the third lynching victim, was implicated in Bausman’s murder, likely based on his earlier brushes with the law in police court. In 1872, he was accused of stabbing Miles Daniels, a Black man, over a card game quarrel at Dan Stone’s saloon. Even though Daniels struck first and was fined $50, Vinegar firmly denied having a knife but was fined $75.6 Two years after his wife’s death, he was charged for a robbery in Eudora with two other men, but the case was dismissed for insufficient evidence. He was also fined $5 for habitual drunkenness, and two “naughty” women who boarded at his house were jailed.7 In 1876, police officers arrested Peter’s 12-year-old son Americus for stealing several jars of preserves discovered under the floor. Although Peter “expressed considerable surprise and showed great mortification” over his son’s arrest, two disreputable women boarders told officers that Peter “instigated” the theft. The Tribune added, “It is a notorious fact that this ogre forces [his children] to steal and beats them when they are unsuccessful.”8 A Black girl also filed a complaint against Peter Vinegar and a Black woman for assaulting her with sticks and stones, and he was back in jail for an unknown charge in 1880.9 Later that year, while railing against several Black thieving families, the Tribune incited racial violence as follows: “Among the worst of these is the notorious Vinegar family, whose names are familiar to readers of the police notes, and who should be treated by the city as vagrants. A proper treatment would be to suspend them by a rope over the dam and permit them to soak about forty-eight hours.”10 4 Her interment record shows that Bailey and Smith, white undertakers, were paid $8 (about $210 in 2025 dollars) for her burial. 5 Quoted in “The Health Officer Speaks,” Tribune, Feb. 16, 1873 (emphasis in original). 6 “Stabbing Affray,” Tribune, Dec. 10 & 11, 1872; “Police Court,” Western Home Journal, Dec. 12, 1872. 7 In Journal, Aug 6, 1875; Dec. 28, 1875; Oct. 27, 1875. 8 Quoted in “The Vinegars,” Tribune, May 3, 1876. 9 In Journal, Jan. 24, 1877; Feb. 5, 1880. 10 Quoted in “Vagrants,” Tribune, May 5, 1880. �After Bausman’s murder, the Tribune explained the family’s impoverished circumstances further and held Lawrence citizens responsible for the family’s destitution: The shocking and repulsive character of the loathsome ‘Vinegar’ den which has been turned inside out in our city, ought not to be a surprise to any person who has resided in Lawrence during the last ten years. At least eight years since when the Vinegar children were all young, they might have been seen any morning going about from house to house asking for something to eat. If you questioned one of the forlorn, shivering, half-naked little outcasts, she would say, ‘Father doesn’t earn enough to buy us all something to eat, Mother is dead, and ‘Sis’ can’t get no pay for work. I ain’t had nothing to eat since yesterday. If you can’t gimme a piece of bread, just let me get a little warm.’ All this, and much more, many a citizen of Lawrence can remember about these vagabond children. The dirty miserable little objects would offer to work and pay for cold victuals or old clothes, but their reputation had preceded them and no one felt like trusting them to remain upon the premises, and so they were ordered to get out as quickly as possible. Now then, given this quantity of hunger, cold, homelessness and childish helplessness, leave it alone to look after itself, and what right has any one to suppose that the result will be other than deceit, theft, murder and all possible kinds of depravity. And if in addition to the problem of poverty, ignorance and idleness we add, as in the case of the Vinegar family, the dreadful factor of inherited evil tendencies, and the further complication of race disadvantages, we have a situation from which we may be certain the worst possible will result. Indeed, the matter of surprise is that worse and more of it has not come about long before this. This shocking murder which has just been perpetrated in our very midst is only another reminder of the truth which men must learn sooner or later—that they must not merely attend to their own affairs, or rather, their neighbors’ affairs are their affairs too. ….If ten years since the city of Lawrence had seen to it that the numerous members of this Vinegar family had been set to work, if poor little hungry mouths of the smaller children had been supplied with wholesome food, and the pitiful little bare limbs comfortably clad, who supposes that we should have had now with us all the horror and the expense of this murderous event. Of course, the problem of how to deal with the desperately poor and the ignorant is not easily worked out; nevertheless it might be done…. For all the pain and the honor which the citizens of Lawrence have experienced within the last few days, the best citizens are responsible. They are only reaping the inevitable, the legitimate harvest of their own neglect and incompetency during the last ten years. Politicians, business men, ministers, teachers, men and women of Lawrence how seriously will you take this question into consideration and how carefully will you work out the result of your conscientious thought about it. It is too late to undo the dreadful past, but it is not too late to see to it that next winter shall not find one little cold and hungry child, black or white, in our beautiful city…. Of this much we may be sure: ignorance and idleness mean murder, drunkenness and desolation of all sorts. And this also may we remember: we are our brothers’ keepers.11 11 Quoted in “The Lesson of It,” Tribune, June 8, 1882. �Like her brother Americus, Margaret “Sis” Vinegar (1868?-1889?) also faced criminal charges in police court. In the late 1870s and early 80s, she was charged with stealing a valuable ring from a white woman that she sold for 35¢ and later a pair of shoes from a store that put her in the county jail.12 Police also believed she stole $20 rather than found it as she claimed.13 During the coroner’s inquest over Bausman’s murder, Margaret denied any role in the murder and stated, “I wouldn’t lie for nobody.”14 Four months later, John Waller, a Black attorney, and other lawyers defended her against charges that she was involved in Bausman’s murder. In her testimony, she said she was 15 years old (b. 1867) and explained her meeting with Bausman who had been drinking whiskey. During “the commission of their crime,” King and Robertson struck Bausman over the head. “She begged them not to kill him and fled home.” At the opening of the trial, “Mr. Waller made a very able appeal in behalf of his client, giving an account of the unfavorable conditions under which she had been brought up, and the trials she had to contend with.”15 District Court Judge Stephen Nelson then explained the differences between murder in the first and second degrees to the jury: …If you find from the evidence that the defendant had an assignation for illicit intercourse with [Bausman] and [that Robertson and King killed him] without the connivance [knowledge] of the defendant, then you must find her not guilty, even though you find that during their illicit and improper intercourse the defendant feloniously appropriated [Bausman’s] money; for in order to find her guilty, you [must find] that she conspired with the parties who used force so that the acts of each one became the acts of all…. After less than three hours, the jury convicted her manslaughter in the second degree.16 When a new trial was granted, Sis was allowed to “board out” from the county jail due “to her delicate condition.”17 Yet at her second trial, another all-white jury convicted her of murder in the first degree within fifteen minutes. She “displayed not the least sign of emotion or interest regarding her future” because she “had undoubtedly given up all hope of ever gaining her liberty.”18 John Waller then responded as follows: In the first place we did not expect that ‘Sis’ Vinegar could be cleared in a community where the minds of the whole public has been excited to its highest zenith…; and second, where her father, against whom there was no charges, was [hung]….We will always believe that ‘Sis’ Vinegar is innocent of the murder of Bausman, and to send her to the penitentiary for life…is no less a crime than was [her father’s hanging]. We do not criticize the Jurors as such, [but it looks as if] our [white] officers were afraid to put a man of color on the jury….19 12 “Robberies,” Journal, June 1, 1877; “A Sour Case,” (Lawrence) Reporter, July 11, 1879. “Who Has Lost Money?” Journal, Jan. 27 & 28, 1880. 14 Quote in “Vinegar Tribe,” Tribune, June 7, 1882; “Unveiling of the Mystery,” Western Home Journal, June 8, 1882. 15 Quoted in “Murder in the Second Degree!” Journal, Oct. 6, 1882. 16 Quotes in Journal, “On Trial for Life,” Oct, 5, 1882; “Murder in the Second Degree!” Oct. 6, 1882. 17 “The Jail,” Journal, Jan. 26, 1883. 18 Quoted in “Sis Vinegar” second trial, Apr. 11, 1883. 19 Quoted in “The Trial and Conviction of Margaret Vinegar,” Western Recorder, Apr. 12, 1883. 13 �Judge Nelson sentenced her to life at the Kansas penitentiary in Lansing.20 While there, Sis paid $5 to a local butcher for a meat bill her family owed. “She has a very good reputation with the prison officials for good behavior” and had saved up the money earned for good conduct.21 In 1888, John Waller applied for her pardon from Gov. Martin, backed by many Black citizens.22 However, Margaret Vinegar died from TB on February 1, 1889 around age 20. She may have been buried at the penitentiary’s graveyard, although no records exist.23 Therefore, her memorial grave marker is added to Peter Vinegar’s grave marker in lot 1167 at potter’s field. Her EJI marker, located near the old courthouse at the municipal pool, was dedicated on June 10, 2023.24 It reads as follows: The Sexual Assault of Margaret “Sis” Vinegar In June 1882, two Black men discovered a white man sexually assaulting 14-year-old Margaret “Sis” Vinegar. The Black men, who were living with the Vinegar family at the time, came to Margaret’s defense and the white assailant was killed. Although she was just 14 and had been the victim of a sexual assault, Margaret was arrested along with her father and the two Black men who rescued her. While in jail, she was terrorized by a white lynch mob that broke into the jail and debated whether or not to lynch her, ultimately voting not to by a majority of one. However, the mob did kidnap her father and rescuers and lynched all three of them on June 10. Margaret remained in jail and in October she was tried for capital murder of the white man who sexually assaulted her. An all-white jury quickly convicted her. Her lawyers requested a new trial in another county, and in 1883 a second all-white jury convicted Margaret and sentenced her to execution. A local newspaper in Lawrence celebrated the conviction: “very little surprise was manifest at the finding of the jury, which is undoubtedly a just one.” A few years later after her conviction, Margaret died from tuberculosis in 1889 while incarcerated in Lansing. Decades after the era of enslavement, sexual violence against Black girls and women was tolerated and unaddressed. Margaret Vinegar became a victim of this violence and the racial bias that punished all who resisted the horrors of this abuse. 20 “The Vinegar Sentence,” Western Home Journal, Apr. 19, 1883; “Bound for the Pen,” Journal, Apr. 26, 1883. Evening Tribune, Dec. 6, 1884; “A Creditable Act,” Gazette, Dec. 1, 1884. 22 “Application for Pardon,” Tribune, Sept. 28, 1888; Evening Tribune, Feb. 4, 1889. 23 Atchison Globe, Feb. 2, 1889; Journal, Feb. 5, 1889; https://www.findagrave.com/memorial/ 47466854/margaretvinegar was taken down. 24 Maya Hodison, “Margaret ‘Sis’ Vinegar memorialized,” Lawrence Times, June 10, 2023. 21 �Elias L. Bradley (1819-1896), lot 1346 and Frances E. Bradley (1845-1891), lot 1474 Brazil Bradley (1866-1891), lot 1470 and Jennie Bradley (1875-1893), lot 1428 Elias L. Bradley (1819-1896) was a very well-known pioneering barber, a devout Christian of St. Luke AME Church, and an honorable Mason who actively engaged with the Lawrence community. His life’s story, as reported in Lawrence newspapers, bears witness to an industrious and conscientious man who cared for others’ needs while practicing his trade over his six decades-long career. Given that his various barber shops served as inter-racial gathering venues for conversations, he well understood the need for calming racial tensions with a clean shave, soothing shampoo, and expertly trimmed haircut. On August 13, 1820, when Eli was eighteen months old, his white father, Edward Bradley, emancipated him and his younger sister Caroline in Hempstead County, Arkansas, having already freed his enslaved mother, Ann, and his three brothers (Zeb, Dan, and Gad) in 1815 and 1818.25 In his youth, Eli learned to read and write and apprenticed as a barber for five years, beginning in 1832, writing, “I claim to be inferior to none at the trade.” While living with his mother and sister in Little Rock, Arkansas, by 1850, he plied his trade and bore a child, Julia Agnes, in 1851 with his first wife. Upon learning about the bloody border wars between free staters in Kansas Territory and Missouri’s proslavery guerillas, he came to Lawrence for the first time in 1856, opened a barber shop, and later “shouldered the musket to stand in the defense of our city” during Confederate Gen. Price’s 1864 threatening raid.26 Frances Esther Mumford (1845-1891) (also born in Hempstead County, Arkansas) married Elias Bradley on May 26, 1860 at Fort Scott, Kansas. In 1861, the couple moved with Julia Agnes to Lawrence, where Mrs. Bradley would raise their eight children and Mr. Bradley would resume barbering.27 Upon opening “a bathing establishment” downtown on Massachusetts Street “for the benefit of all who may patronize him,” he pointed out the following: “Gentlemen, I have been almost disheartened in my adventure of opening business among you. I was told in the South that the Northern people would not patronize me much—that I would starve—that I would find out that the Northerners were not friends to the colored man. Now is the chance to prove it to the contrary.”28 One year later, when William Quantrill and his Missouri guerillas murdered men and destroyed Lawrence on August 21, 1863, Bradley saw a white man shot and his body thrown into a burning building.29 The Bradley family survived but “lost all”—presumably their home, his workplace, and possessions. They received some relief ($12.10 worth of groceries or $286 in 2025 dollars) and some clothing.30 Two years later, he owned $500 in real estate property and 25 Hempstead County Deeds Record Book I, 118-19, in Dena White, “Slavery in Hempstead County, Arkansas,” honors thesis, Ouachita Baptist University, 1984, 41-42, https://scholarlycommons.obu.edu/cgi/ viewcontent.cgi?referer=&httpsredir=1&article=1195&context=honors_theses. See also https://www.wikitree.com/wiki/Bradley-15833. 26 In Tribune, “Barber Shop!” Apr. 5, 1867, “1856,” Dec. 21, 1872. 27 (Fort Scott) True Democrat, May 26, 1860. No news can be found on what happened to Julia. 28 Quoted in advertisement, Journal, Sept. 4, 1862; “Tonsorial,” Tribune, Feb. 20, 1862. 29 Tribune, June 1, 1870. 30 See Bradley listed in “Lawrence Relief Commission,” Tribune, Oct. 3, 1863. �$500 in personal property (worth a total of $18,283 in 2025 dollars).31 Although he claimed $478 ($11,305) in raid damages, he did not receive sufficient payments, much like the majority of claimants.32 Yet surviving the raid became a great source of pride, especially for Black businessmen. With others, Bradley met at Fred W. Read’s store to plan the first reunion of raid survivors at South Park on August 21, 1891, and his name appeared on survivors’ lists through 1895.33 After the Lawrence massacre, Bradley’s frequent newspaper advertisements, touting his years of experience, attracted men, women, and children, both Black and white, to his barber shops at different downtown locations on Massachusetts Street.34 For instance, Major B. S. Henning, a white Union officer and railroad executive, “used to come up from Kansas City to get his hair cut by Bradley. He had become so well suited with the work that barber did in this line, that he would try no one else.”35 After Bradley spent $190 (over $4,000) on three handsome new chairs from Chicago, Rev. David G. Lett and his son Hannibal moved their “Crystal Palace” from Topeka in 1870 to his enlarged and improved stand at 70 Massachusetts, where “his former patrons [could] hardly recognize the place” now “up in such fine style.”36 At some point, a picture of an old horse, labeled “Blood will tell,” hung in his shop.37 Over the course of his extensive career until at least 1890, he “always received a full share of patronage,” along with several Black barbers who partnered or worked with him, including William H. Butler, John M. Mitchell, Mark Anthony, (James?) Stewart, John L. Waller, and James Gross.38 In 1879, Bradley and Butler “defied any barber or barbers to excel us in shaving or hair-cutting.” Frank Willard, a white barber, accepted their challenge with a bet of $100 and John Mitchell refereed.39 Given his writing skills, Bradley often served as a secretary for various gatherings. In 1865, he recorded a huge July 4th celebration among Black folks in which soldiers and women, dressed in white representing 35 states, paraded downtown.40 Together with other civil rights 31 See “African-Americans in the 1865 Kansas Census (Douglas County)” by Debby Lowery and Judy Sweets (selfpublished, 2006), 14. 32 “Quantrill Raid Claims,” Tribune, Mar. 11, 1887. Although claimants reportedly received 4% interest on their amounts in 1887, the principal, in annual installments of 10%, was not paid until January 1890. See Katie H. Armitage, “‘Out of the Ashes’: The Rebuilding of Lawrence and the Quest for Quantrill Raid Claims,” Kansas History 37 (Winter 2014-15): 226-41, especially 235 on Bradley. 33 In Journal, “Business Men Who ‘Still Live,’” Aug. 21, 1889; “Quantrell [sic] Didn’t Get Them,” Aug. 18, 1891. During this reunion, C. W. Smith registered at least 30 Black residents out of more than 380 survivors, at https://www.kansasmemory.org/item/225627. 34 One ad ran from April 15, 1869 thru February 25, 1870; in Tribune, “Head-Quarters Shop,” Dec. 27, 1868; barber shop with a bathhouse “to keep the outer man clean,” at 9 th and Mass., July 8, 1873; on Massachusetts north of 7th Street, Journal, May 12, 1876; “Star of the West,” (Kansas) University Courier, Nov. 3, 1879; at 622 Massachusetts in his final advertisement, Journal, Dec. 24, 1890. 35 Quoted in Lawrence Daily Gazette, July 12, 1890. 36 “New Chairs,” Tribune, Sept. 7, 1869; quoted in Journal, Mar. 1, 1870; Tribune, Feb. 26, 1870. Bradley also obtained a liquor license, Journal, Sept. 8, 1870. Months later, Lett and his son dissolved their partnership with Bradley by mutual consent and opened a new shop at 58 Mass., Journal, Mar. 28, 1871; Standard, July 20, 1871. 37 “Correspondence” by Lamonte from Augusta, Kansas, in Tribune, Sept. 3, 1873. 38 In Tribune, quoted in partnership with Gross, Mar. 11, 1881; their purchase of two pairs of steel hair-cutting shears, May 17, 1881; Butler, Dec. 25, 1864; “Barber Shop!” Apr. 5, 1867; Mitchell, July 18, 1871; Anthony, June 5, 1877; Waller, Nov. 10, 1880. He also sponsored a masquerade ball at Eldridge Hall with a barber, Aug. 8, 1871. 39 “Trying to Razor Row,” Lawrence Reporter, Mar. 24, 1879. No report on who won the bet. 40 “Celebration by the Colored People of Lawrence,” Tribune, July 6, 1865. �activists, such as Charles H. Langston, he petitioned legislators to strike the word “white” from the Kansas Constitution, to grant suffrage to Black men (regardless of class), and to abolish racial segregation in public places (including barber shops) beginning in 1866.41 While his peers remained disenfranchised, his name appeared on a list of qualified voters as a freedman in 1868, two years before the passage of the Fifteenth Amendment.42 When rumors spread over two separate racial “outrages” in 1873, Bradley recorded citizens’ denunciations of “unlawful deeds” committed by Black men on white females.43 Ever conscious of the economic struggles among lower class citizens, he also “determined to do justice to the laboring class and all who may patronize them” by charging only 25¢ ($7.45) for a shave and haircut, and 15¢ ($4.50) for children’s haircuts, sometimes reducing his prices to 10¢ ($3.00).44 St. Luke AME Church became his spiritual home, perhaps since its founding in 1862. In addition to religious services, congregants also gathered for “indignation” meetings to protest racial discriminations. For instance, in 1874, citizens and parents vehemently opposed C. B. Mustard, an incompetent white teacher at the Black-segregated Vermont street school where Bradley’s children attended.45 Two years later, Bradley and ten other barbers agreed to limit their hours on Sundays from 6:00 to 10:00 a.m., until 1882, when six barbers decided to close on Sundays but operate on Saturdays from 8:00 a.m. to midnight.46 In 1879, Bradley also joined a meeting, led by Rev. Richard Ricketts, to protest the city council’s failure to appoint any Black men to positions.47 For her part, Frances reportedly “professed a hope in Christ in 1885,” one year after Elias retired from St. Luke’s board.48 As a morally upright and sober man, Bradley may have been a charter member of the Far West Lodge No. 5, an all-Black “secret” society of Ancient, Free, and Accepted Masons established in Lawrence in 1866. The following year, on June 24 (St. John’s Day), Capt. William D. Matthews organized the Most Worshipful King Solomon Grand Lodge of the State of Kansas headquartered in Leavenworth. Bradley served as an officer (secretary, treasurer, and trustee) for this state lodge from 1871 through 1885, as well as secretary for Lawrence’s Far West Lodge No. 5 in 1876.49 Beginning in 1889, several tragic deaths occurred in the Bradley family. First, son 41 Bradley was one of three secretaries for a “Colored Men’s Convention” at Frazer’s Hall, Tribune, Oct. 18, 1866; see also “A Call to the Colored Citizens,” Journal, Jan. 14, 1887. One Journal reporter thought he “never meddles in politics,” Jan. 6, 1877. 42 See listed names in the First Ward, Tribune, Mar. 19, 1868. To prepare for a celebration of the Fifteenth Amendment on August 1, 1870 in Leavenworth, Bradley served on the Ways and Means Committee, Tribune, June 23, 1870. 43 “To Whom It May Concern,” Tribune, Apr. 1, 1873 in response to “The Situation,” Journal, Mar. 30, 1873. 44 “I X L Barber Shop,” Tribune, Jan. 17, 1879; Reporter, Apr. 2, 1879; (Lawrence) Kansas Mirror, Nov. 3, 1881; Journal, August 19, 1882. 45 Secretary E. L. Bradley and Hannibal Lett, Tribune, Aug. 11, 1874. 46 In Tribune, “Notice,” June 1, 1876; Oct. 12, 1882. 47 “Indignation Caucus of the Colored Men,” Tribune, May 23, 1879. 48 Quoted in her obituary, Journal, Feb. 18, 1891; “The AME Church,” Evening Tribune, Jan. 17, 1884. 49 In Journal, “Masonic Grand Lodge,” July 28, 1871; Mar. 24, 1876; “Masonic,” Oct. 15, 1878, Dec. 10, 1881; “King Solomon’s Grand Lodge,” Nov. 24, 1882, “Notice,” Sept. 13, 1884, “To Whom It May Concern,” Nov. 20, 1885; in Tribune, “Masonic Demonstration,” July 18, 1873; Mar. 23, 1876; “Masonic,” Western Recorder, Oct. 19, 1883; “Masonic” committee, Evening Tribune, Mar. 15, 1890. �Elmore (1861-1889), a well-educated 29-year-old man born deaf who loved to fish at the Kansas River, disappeared from the family home in mid-August. (For nine years, Elmore had attended the “Asylum for the Deaf and Dumb” in Olathe—a tuition-free school that offered free room and board to its students.) Twelve days later, Elmore’s body was found 25 miles downriver near DeSoto. By the time Elias had arrived in DeSoto, the coroner had already buried his son in the town’s “Silent Cemetery.”50 One year later, the family also grieved over the passing of “little Wilfrid” (unknown birth year).51 Seven months later, Mrs. Frances Bradley, age 45, died quite suddenly from heart disease at the family home on north Kentucky Street. After her AME funeral, she was buried in Oak Hill’s potter’s field. In his card of thanks, Mr. Bradley wrote: Please allow me...to return heartfelt thanks to our many kind friends for their kind assistance and sincere sympathy towards my bereaved family. Honor to all who have done so much to show their love and respect. Words fail to express my sense of appreciation of those deeds which spoke louder than words. Such expressions will not be unnoticed nor unrewarded by Him who controls the destiny of His creatures; to whom, with much love, I would commend each of you.52 Another seven months passed when Elias’ 25-year-old son Brazil (“Bud” or “Bead”) (1866-1891), also a barber downtown, died from tuberculosis. He, too, was buried in potter’s field. The year before, Bud had engaged in an altercation with another Black barber whom he cut severely with a razor. Immediately after this incident, Bud ran to his family’s home, changed out of his bloodied coat, and skipped town for an unknown period of time.53 Then, in February 1893, Elias’ 17-year-old daughter Jennie Bradley (1875-1893) died of typhoid pneumonia. Her body was brought from Kansas City and also buried in potter’s field after the funeral.54 Little is known about Bradley’s remaining four children, only that Lawrence H. Bradley (b. 1864) was released from police court for an assault he did not commit.55 Mary Bradley (b. 1869) married Ernest Russell on March 23, 1891, in Iowa, a ceremony that Lawrence witnessed.56 No marriage was ever announced about Anna (b. 1871). At age 16, daughter Sarah (b. 1880) was the sole family member living with her father one year before his death.57 After a very long-lived and highly successful career as a tonsorial artist and entrepreneurial businessman, Elias L. Bradley died at age 77—while still barbering downtown at 50 “Elmore Bradley,” Journal, Sept. 20, 1889; “Disappeared,” Gazette, Sept. 23, 1889. On the history of the Kansas School for the Deaf, see https://www.osagecountyonline.com/archives/42697. No burial record for Elmore Bradley exists in the DeSoto Cemetery, http://www.interment.net/data/us/ks/johnson/ desoto/index.htm. 51 “Card of Thanks,” Journal, July 28, 1890. His burial place remains unknown. 52 Quoted in Journal, Feb. 28, 1891; “Francis Esther Bradley,” obituary, Feb. 21, 1891; “Died Suddenly,” Gazette, Feb. 16, 1891. 53 In Gazette, “Brazel [sic] Bradley,” Aug. 6, 1891 and “Razors in the Air,” May 5, 1891 (also Journal); and “Prisoners Escaped,” Journal, June 19, 1885. 54 Gazette, Feb. 24, 1893. 55 “Police Court,” Journal and (Lawrence) Kansas Herald, Aug. 28, 1883. 56 See https://www.wikitree.com/wiki/Bradley-15833. 57 1895 Kansas census. �5 east 9th Street. Congregants at St. Luke AME Church honored him as “a man of sterling qualities, a Christian whose daily deportment proved his faith was well founded.” His Masonic brothers conducted his AME funeral and led him to his burial place—in potter’s field.58 Newspapers do not explain why Frances, Elias, and two of their eight children were buried in Oak Hill’s potter’s field. Despite Mr. Bradley’s wealth of AME friends, Masonic brothers, co-workers, and thousands of customers over his six decades-long career, why could no one come forward to pay for family burials in one standard plot within Oak Hill Cemetery? Instead, the Bradley family lies at rest in separate paupers’ lots. As Mrs. Bradley’s epigraph reads: Forever here my rest shall be, Close to thy bleeding side. It’s all my hope, and all my plea, For me the Savior died.59 58 59 “In Honor of E. L. Bradley,” World, Mar. 18, 1896; Journal, Mar. 9 & 14, 1896. Quoted in obituary for “Francis [sic] Esther Bradley,” Journal, Feb. 18, 1891. © Jeanne Klein 2022 �Edward P. Washington (1850-1883), lot 29 (NE ½) (transcribed and edited by Jeanne Klein 2022) John L. Waller (1850-1907), an African American lawyer and politician, wrote the following articles in his Western Recorder newspaper published in Lawrence.60 “Death of E. P. Washington,” March 17, 1883: We are pained this week to chronicle the death of Edward P. Washington, who died of smallpox on the [Addis] Island on the [Kansas/Kaw] river bank, east of the city about a mile. The writer has known Ed. Washington for the last eighteen years; we were boys together, and have haunted over many a hill, and fished in many a stream in Iowa, years ago. He lived on a farm northwest of Marshalltown, Iowa, where he grew to manhood and married Miss Sarah Murray of Oskaloosa, Iowa. Ed Washington was a young man, being thirty-three years old on the 3rd day of January last past. He and his wife came to Kansas one year ago in company with [his] parents. They settled in Lawrence, where they have worked hard, and made a comfortable living. They have made many friends in their new home, and Mr. Washington, being of a long-lived family, would have lived, no doubt, to the age of at least sixty to seventy, perhaps more. As it is, he and his wife were forced down upon the island to live or die, with a case of smallpox, for which they were in no way responsible, while others, who had been equally exposed, were placed in a house removed from the smallpox. It is the verdict of almost everyone with whom we have conversed with reference to this matter, that Washington and his family should have been sent to the pest house west of the city, where his life, and that of his wife, would have no doubt been saved. We certainly doubt the wisdom of compelling people who are in good health to remain in company with any contagious disease. It is all well enough to send persons who have already had smallpox, but we think it a sacrifice of life to send persons to live with it, who are in danger of taking it. Mrs. Washington, widow of the deceased, is a most worthy young woman. We tender to her our most heartfelt sympathy in her sad affliction. March 22, 1883: This is doubtless a canard, but it is absolutely true, yes an awful fact that under the instructions of Mayor [J. D. Bowersock] of this city, Ed. Washington, one among our most worthy colored citizens, was forced down on the island, as also was his wife, to live or die with a case of smallpox. They were placed in a thing called a “pest house.” This building is situated on the south bank of the Kaw, about one mile east of the city. It is surrounded by a group of swamps which makes it next to impossible for a man to recover even from the most common disease. Suppose we grant for the sake of the argument that Mr. [Dan] Crew did make the remark attributed to him. Can it be compared to the loss of a life, which widows a woman, and turns her out in the world as destitute as a pauper? Mr. Bowersock carried into effect, though plied upon another victim, what our contemporary charges Mr. Crew to have advised in the case of the child. We further avow that E. P. Washington might as well have been “wrapped up in a blanket, and thrown in the river,” as to have been placed, yes FORCED to go and remain on that island, with the smallpox. We will never forget the last words he said to us. We met him on the corner of Warren [9th] and Rhode Island streets, the day they took them to the island, and seeing us, his eyes filled with tears and he choked up, and remarked in a 60 For details on Mr. Waller, see https://en.wikipedia.org/wiki/John_L._Waller. �suppressed tone, “Goodbye, John, my family is ruined.” It was the last time we ever saw him. Can colored men forget how bitterly his wife wept when it was found that she and her husband had to go and stay with that case of smallpox? We reiterate what we said in the RECORDER last week. Washington should have been placed in a house separate from the smallpox. He might as well have been shot as sent to the place where he met his death. No, the facts are that the present Mayor of this city has no sympathy for colored people, and they can never prosper while he is at the head of the city government, and the sooner they realize this fact the better it will be for them. We charge the death of Ed. Washington upon the head of the Mayor of this city. And what shall be said of the disconsolate and bereaved widow of Washington? There are white people here who will testify to the fact of her industry, her good character, and womanly bearing; and from Marshalltown, Iowa, more than a thousand of the best citizens there would speak in her favor but only see her now weeping and uncomforted by any friend, down in the woods, on a desolate island, in obedience to the edict of the man whom our contemporary asks the suffrage of the colored voters of this city.61 May 10, 1883: The City Council allowed Mrs. Sarah Washington, widow of Edward Washington, who died on the island of smallpox, one hundred and seventy-five dollars [$5,164 in 2022 dollars] for property destroyed, and for her services as a nurse in the pest house. We are glad that this disconsolate woman has been awarded a few dollars with which to clothe and feed herself. The loss of her husband no City Council can repay. “No More Smallpox in the City,” Lawrence Gazette, April 19, 1883: We are happy to be able to state that the great danger from the spread of smallpox in this city is over.... At the Dolan house, in Wakarusa Township, there are three cases.... There have been in this city the following cases (and only these) during the present year: Child of Ben Fletcher, Lotta Anthony, [and] Ed Washington [all Black]....These cases were all taken to the pest house on the island [in February].... The case on the island was a new importation from Kansas City; first appearance of the disease in this case April 11. The patient was immediately placed in the pest house on the island, making in all twelve cases. Two cases just taking disease. Four deaths have occurred as follows: March 8, Ed Washington; April 11, child of Dolan; April 14, J. W. Dolan; April 16, child of Dolan.62 C. W. Smith, Chairman Board of Health 61 S. B. Smith, Waller’s brother-in-law living in Carroll, Iowa, was also sorry to learn of Washington’s death, Western Recorder, Apr. 5, 1883. 62 For three weeks, Dr. A. G. Abedelai personally cared for J. W. Dolan, a white farmer in Wakarusa Township and chairman of the county Democratic party, and his children, “Honor to Whom Honor is Due,” Gazette, Apr. 26, 1883. �Lettie A. Anthony (1865-1883), lot 1248 (transcribed & edited by Jeanne Klein 2022) “Horrible Catastrophe,” (Lawrence) Kansas Herald, July 10, 1883: Yesterday evening, about seven o’clock, at a boarding house on Massachusetts street kept by Mrs. [F. J.] Rodemeyer [white], Lettie Anthony, a colored girl, was burnt so severely by attempting to start a fire with coal oil, that she will probably not survive. It seems that Mrs. Rodemeyer was eating supper, and sent word to the girl in the kitchen, to make her some warm tea. The fire was low and to hurry it up, the girl took a can of kerosene oil and began to pour it on the embers. The result was what might have been expected; the oil caught fire, and the can exploded, throwing the contents all over the girl. In one moment, she was one mass of flames. She rushed out into the yard, where Mr. David Hall [white] happened to be. He picked up a blanket lying near at hand and wrapped her up in it. Mrs. Rodemeyer had seen the girl as she went out of the house all in flames and had seized a bed quilt and followed her. When she arrived, the blanket Mr. Hall first used was on fire, and he took the quilt she brought, and with the two, succeeded in smothering the flames, but not until the girl’s clothing had been entirely burned off from her. Drs. Miller and Punton were called and did everything in their power to relieve her suffering, but she is burnt so badly that in all probability she will not recover from the effects. The skin was burnt off from almost the entire body, and in many places, the flesh only hung by shreds. The little girl who took her word to bring the tea was slightly burned. The girl’s father [Edmund] lives near Eudora on a farm, her mother [Jane] having died some weeks since. She has two cousins in Lawrence, Mollie Stephens and Mrs. Lettie Burnside. She was down on the island during the smallpox scare with the Washington family [Edward and Sarah].63 LATER Lettie Anthony died at ten o’clock this morning, after fourteen hours of horrible suffering. Her funeral will be attended tomorrow. John L. Waller, Western Recorder, July 19, 1883 (African American perspective): A very sad affair occurred Monday evening at the boarding house of Mrs. Rodemeyer on Massachusetts street. Lettie Anthony, a young colored girl, was attempting to start a quick fire by pouring in coal oil, when the oil took fire, exploded the can and set her clothing on fire. The girl ran to the yard a sheet of living flame. Here a Mr. Hall threw a blanket around her and the flames soon smothered. But her clothes were burned up and her body a seething mass of burned flesh. Physicians were called and all was done that medical skill could do, but the girl died on Tuesday afternoon. She was from Eudora where her father [Edmund] lives. He also has relatives in this city and was with Mr. [Edward] Washington’s family on the island when he died of smallpox last winter. 63 See Edmund Anthony family and Lettie and Isaac Burnside family in 1865 Kansas census; Miss M. Stephens, a domestic at 1015 Tennessee street, in 1886 city directory; Mrs. and Mr. Rodemeyer and D. H. Hall in 1885 Kansas census. For details about smallpox on the Kansas River island, see Edward P. Washington who died there on March 8, 1883. �Sarah Thurston (1840-1885), lot 1206, Ann Eliza Thurston (1863-1882), lot 1177, Ulysses Thurston (1869-1884), lot 1286, and Maggie B. Thurston (1873-1887), lot 1156 Edward Thurston (1832-1908), born enslaved in Tennessee, endured a long life, mostly as a low-wage laborer with his large family. Upon settling in Lawrence around 1862, he first worked as a farm laborer in rural Wakarusa Township with his wife Sarah (Sally), a domestic servant, and their two children, Silas (b. 1862) and Annie (1864-1882), both born here.64 The family survived Quantrill’s raid in August 1863, and Sally obtained $3.50 worth of groceries ($83 in 2022 dollars) in raid relief for her family, including one child (Annie).65 Mr. Thurston listed himself as a stone quarrier in the 1866 city directory. Beginning in 1875, Mr. and Mrs. Thurston lost five children to common diseases, and each were buried in potter’s field at Oak Hill Cemetery: six-year-old Emma (1869-1875), infant Lulu (1875-1876), 19-year-old Ann Eliza (1863-1882), infant Burnetta (1882), and 16-year-old Ulysses (1869-1884).66 After a year-long illness, Sarah Thurston (1840-1885) died at age 45 from TB at the family home on New York street.67 Two years later, 14-year-old Maggie (18731887) died from typhoid fever and her funeral was held at St. Luke AME Church.68 Given the loss of so many children and his wage-earning wife, Edward turned to selling intoxicating liquor in the low-lying, east-side Bottoms, like so many other African Americans who defied the 1881 Kansas prohibition law by working in this lucrative business.69 After his first charge in 1888 was dismissed for lack of evidence, he was fined $100 ($3,275 in 2022 dollars) for selling whiskey but his 30-day jail sentence was commuted by commissioners.70 In 1893, he was arrested for “keeping a disorderly house” (prostitution), fined $59.50 ($1,970), and sent to jail “in default of payment”; but fifty friends petitioned the city council to pardon him.71 The following year, his 14-year-old daughter Alice Thurston (1880-?) began using a sharp knife to fight other Black women “in jealous envy” over Black men, first with Mrs. “Speevy” Gunter over Nick Allen and then with Mary (Mame) Ford whom she cut severely on both cheeks. This second assault charge “with intent to kill,” short of manslaughter, confined her 64 See “African Americans in the 1865 Kansas Census (Douglas County)” by Debby Lowry and Judy Sweets (selfpublished, 2006), 47. Mr. and Mrs. Thurston could not read or write due to slave codes. 65 Listed in “Lawrence Relief Commission,” Tribune, Oct. 3, 1863. No obituary or burial place exists for Silas Thurston. “E. Thurston” registered as a raid survivor with undertaker C. W. Smith at the first reunion of survivors on Aug. 18, 1891, https://www.kansasmemory.org/item/225627. For details, see Jeanne Klein, “African American Survivors and Victims of Quantrill’s Raid on Lawrence,” available for $5 at Watkins Museum of History. 66 Edward (and/or friends) may have buried his children himself for $3, cheaper than undertakers’ charges. See B. Jean Snedeger, Complete Tombstone Census of Douglas County, Kansas, vol. 1 (Lawrence: Douglas County Genealogical Society, 1987), 224. No obituaries were published for Emma, Lulu, Ann Eliza, or Burnetta. Emma and Burnetta do not appear in the 1875 Kansas census, taken on March 1. Obituary for Ulysses in (Lawrence) Kansas Daily Herald, Apr. 22, 1884. 67 Western Recorder, July 4, 1884; Journal, Aug. 5, 1885. 68 Evening Tribune, Oct. 24, 1887. See 1885 Kansas census listing Edward, Sarah, Maggie, Cora, Alice, and Willie. 69 For details, see Dennis Domer, “The East Bottoms: A Landscape History of Lawrence’s Red-light District,” in The Enduring Struggle for Freedom, vol. 2 (Lawrence: Watkins Museum, 2022), 336-50. 70 Evening Tribune, Dec. 19, 1888; Journal-Tribune, Apr. 28, 1892, June 9, 1892. 71 Lawrence Gazette, Mar. 31, 1893; World, May 2 & 4, 1893. No report on whether councilmen pardoned him. �to the county jail for six months.72 Yet six months after her release from jail, Alice murdered Ella Lane, another Black red-light district woman, on 6th street over another Black boyfriend, Labe Anderson, a case that initially attracted much court room attention. After spending four years in the state penitentiary, she was released and “restored to citizenship” by Gov. Stanley in 1899.73 Meanwhile, Edward faced more fines ($300) (over $10,000) and 30-day jail sentences for selling whiskey and “maintaining a nuisance [house].” Yet several downtown merchants (who benefited from bootlegged liquor) asked the city attorney to dismiss his last case once he paid his court costs. It appears that Mr. Thurston may have “retired” from bootlegging after this last reported incident, especially if his children supported him with their wages.74 Will Thurston (b. 1879), Edward’s oldest son, grew up with his good friend George “Nash” Walker (1872-1911), a prominent Black performer who showcased his productions at the Bowersock Opera House [now Liberty Hall]. During his 1902 visit, Walker was an honored guest of the white Elks fraternal order, writing: On the morning of July 4th, I was awakened by a complimentary visitation of the [Haskell Institute] Indian brass band, which served as a reminder to prepare to make good my promise to participate in the [Elks’] parade. Just then Willie Thurston rushed into my apartments yelling, ‘For God’s sake, Nash, get up. The white folks are about to parade and you are the only darkey in the procession, so fix up and get right. If you don’t, we sure will tell you about it after the parade is over, and Mr. Donnelly has got you the white horses and trap [carriage] all fixed up for your special benefit. Please get up, Nash.’75 Two years later, Will plead guilty to “disturbing the peace” by smacking Genesee Drake, a young Black woman, in the mouth for calling him racist names. He paid his fine and court costs ($6.50 or $217) but reportedly “concluded he did not get his money’s worth.”76 In 1905, Will lived with his father and older sister Cora at 818 Indiana. Cora (Thurston) Alexander (b. 1876), a domestic servant, had married and then divorced William A. Alexander (a cook) in 1901.77 In 1908, Edward Thurston, around age 76, died at his home (211 W. 6th street) from blood poisoning (sepsis).78 After his funeral at St. Luke AME church, he was buried at Oak Hill 72 “Cutting Scrape,” Gazette, Oct. 29, 1894; in Journal-Tribune, “More Cutting,” Oct. 29 & “district court,” Nov. 14, 1894. Her birth year varied from 1878 in 1880 US census or 1880 in 1885 Kansas census. 73 In Journal-Tribune, jail release, May 22, 1895; detailed in “Killed with a Knife,” Nov. 9, 1895; in World, “One Dead, One Hurt,” Nov. 9 & “The Lane Murder,” Nov. 11, 1895; “The Thurston Murder Case,” Feb. 6, 1896, June 12, 1899. Several friends cheerfully accompanied her with an officer from the county jail to the depot, in Journal, Feb. 21, 1896. No further information or obituary can be found for Alice Thurston. 74 In Journal, “Caught Selling Whiskey,” Mar. 11, 1896, “Police Court,” Mar. 16, 1896, police court, July 26, 1898, “Council Meeting,” Nov. 8, 1898. No follow-up report confirmed whether he was pardoned. 75 Quoted in Jeffersonian Gazette, July 24, 1902. Walker requested and obtained black horses for his carriage. 76 Quoted in “Police Doings,” Gazette and police court, Journal, Sept. 22, 1904; birth year in 1885 Kansas census and 1900 US census. No obituary for Will Thurston can be found. 77 See 1885 and 1905 Kansas census; divorce, World, Aug. 29, 1901; 1905 city directory. Miss Mary A. Patterson (b. 1874), a Black domestic, also boarded with the Thurston family in 1905. The 1895 Kansas census for Edward, William, Cora, and Alice also listed “M. Thurston” as a male born in Ohio with no birth year. 78 World, Nov. 11, 1908. Some confusion arises over whether Mr. Thurston remarried. The 1909 city directory, published around the time of his death, listed Edward with his wife Julia living at 211 W. Pinckney (6 th) Street. The �Cemetery in a grave he had purchased and reserved for himself (Sec. 11, GR 43)—far away from his family buried in potter’s field. 1917 city directory listed “Julia Thurston (c) (wid Edward)” living at 828 Vermont, her address since 1911 with Pryor and Martha Wallace. “Mrs. Julia Thurston” married George W. Marshall in Baldwin City, Gazette, Mar. 23, 1918. The 1910 and 1920 US censuses indicate that she was born in 1855 in Kansas. © Jeanne Klein 2022 �Richard Voorhees (1861-1883), lot 1151 No census records can be found for Richard or his parents. Two news reported his death and funeral as follows: Richard Voorhees, aged about twenty-two years, died at the residence of his parents in this city yesterday, after an illness of nearly one year. Dick, as he was familiarly called, was one of the brightest colored boys in the city. When a mere lad, he came into the JOURNAL office intending to learn the printer’s trade. After about a year of service, he became tired of his situation and abandoned his idea of becoming a printer, though for the short time he had worked, he made rapid progress. We do not know how his time was spent for several years, but when we next saw him, he had again turned up in the JOURNAL office, this time as engineer and assistant to the pressman, and there he remained as long as he was able to work at anything. Dick had an immense amount of natural ability, and it was a constant wonderment to us how he had accumulated so much information with the advantages he had. He had a deep, rich voice and has delighted many of our citizens with his singing. He was one of the principal members of the Silver Leaf Club, whose serenades are familiar to every resident of the city. He was a member of the colored [Telephone] band, and one of its best performers.79 He could not possibly have had a musical education, yet he could read music as [as well as] a printed page and delighted in it. He wrote a good hand and was well posted on current topics of the day. What he might have been with cultivation and advantages no one knows. Just enough of the outside dross had been knocked off to show a glimmer of the metal beneath. How pure a gem this was will never be known. Mr. Voorhees was a member of the colored [Second] Baptist church of this city. The funeral will be attended at 2:30 o’clock this afternoon.80 The funeral of Richard Voorhees took place yesterday afternoon from the Baptist church on Ohio street [later known as the 9th Street Baptist Church]. A large number of friends of the deceased were present to pay their last tribute of respect to the dead. The services were conducted in a most impressive manner by Rev. [Dudley] Lee who paid a high tribute of respect to the deceased during his remarks. The following named gentleman of the Silver Leaf Club, of which Mr. Voorhees was a member, acted as pall bearers: Israel Allen, Isaac Johnson, Wm. Allen, Richard Gates, John Henderson, [and] Jesse Allen.81 79 Band leader J. Cyrus Richardson (1851-1911) organized, trained, and led the all-Black Telephone Band from 1882 through the 1890s, ultimately with 45 members. Wearing elegant uniforms, this cornet band marched in downtown parades and furnished music for Black Republican rallies, Black Masonic festivals, and many other social events; for example, see Tribune, Apr. 21, 1882 and Journal, June 20, 1896. The Silver Leaf Club, composed of African American men, included James R. Miller, Floyd Polk, Frank P. Hunter, A. Reynolds, J. H. Stewart, R. Smith, J. A. Kennedy, L.W. George; president John Fishback, vice-president Charles Bryant, and concert manager Josiah [Cyrus] Richardson, in Journal, July 6, 1880, July 6 and Aug. 23, 1882. 80 “Died,” Journal, Feb. 21, 1883. 81 “Funeral Services,” Journal, Feb. 22, 1883. �Isaac Allen (1820-1902) and Hagar Allen (1834-1917), lot 1285 William Allen (1863-1883), lot 1147 and Israel Allen (1859-1904), lot 799 Isaac Allen (ca. 1820-1902) and his wife Hagar Allen (ca. 1834-1917), both enslaved in Kentucky, married in 1848. By 1865, they had settled in Lawrence, where they raised three sons Israel, William, and (James) Robert.82 In 1871, Mr. Allen purchased a lot on New York street from a white realtor E. D. Ladd for $65 ($1,588 in 2022 dollars).83 Although he and his sons labored at unspecified jobs, this property debt may have kept the family impoverished, forcing their burials in potter’s field at Oak Hill Cemetery.84 In 1883, son William “Willie” Allen (1863-1883), who had recently married, died unexpectedly of pneumonia at his parents’ home. As John L. Waller wrote in the Western Recorder, “He was a fine young man of some twenty-three summers, and his death...will be a sad blow to his widow and parents, as well as by the hosts of friends which he has in the community. [His] death will remind [many] young people that the young die as well as the old. The widow and parents of the deceased have our most tender sympathy, and it is hoped that they may be reconciled to the fact that ‘Jesus doeth all things well.’” His funeral at St. Luke AME church, conducted by Rev. B. F. Bates, “was very solemn and impressive” and “well filled” with friends.85 Son Israel Allen (1859-1904) played baseball in the local Eagles club and also sang in a glee club.86 Beginning in 1883, he and other Black men began working the Third Ward polls, in which they were “simply invincible, and should not be forgotten.”87 He was also a Prelate in the masonic Knights of Pythias.88 In 1885, he married Dora Cosby at Rev. Bates’ home, where the couple received “many beautiful and useful presents,” from a large number of friends.89 While working as a brick hod-carrier and plasterer in Sedalia, Missouri, he died from falling off a scaffold in 1904, having recently plastered his mother’s house.90 Two years earlier in June 1902, the fire department was called out to the Allen’s small frame home at 1343 New York Street when sparks from a flue caught fire on the old splintery roof. Although Isaac Allen was not seriously injured, he died that evening of “old age and general debility.” The city paid $13.50 ($468) to dig his grave and provide his coffin and burial at Oak Hill’s potter’s field.91 Although son Robert Allen (1867-?) was reportedly living in Lawrence at the time of his 82 Birth years for Isaac and Hagar vary considerably; see 1865, 1870, 1875, and 1880 censuses, and marriage year in 1900 US census. Israel and William were born in Missouri and Robert was born in Lawrence. 83 “Real Estate Transfers,” Tribune, May 7, 1871. 84 See 1879, 1883, 1886, 1888, 1893, 1900, and 1902 city directories. 85 Quoted in Western Recorder. Mar. 29, 1883. The name of his wife was not published. 86 Journal, Aug. 20, 1878; Tribune, October 29, 1880. 87 Quoted in Western Recorder, Nov. 9, 1883; in Journal, elected Republican delegate in the Third Ward, June 14, 1884, Sept. 26, 1885, June 25, 1886. 88 Journal, Aug. 13, 1885. 89 Tribune, Sept. 4, 1885. 90 Gazette, Oct. 18, 1904. 91 World, June 3 and July 14, 1902. �father’s death, his life story remains somewhat unverifiable. In 1885, at age 18, he married 17year-old Ann Eliza Penetione (1866-?) who bore a daughter Rosa.92 Ten years later, a “Robert Allen” was deemed guilty for assaulting Marcus Hamilton, the same Black man whom Hagar Allen had had arrested for disturbing her peace in 1885.93 This Robert Allen may have been sent to the Lansing penitentiary for his crime.94 Alternatively, Robert and Ann Allen may have moved to Kansas City, Missouri, but their common names make their death years uncertain.95 Hagar Allen also adopted a daughter Mabel Allen (1884-1928?), who married Fred F. Stewart in 1908 and then moved to Des Moines, Iowa.96 In 1916, Mrs. Stewart wanted to care for her elderly mother, so she sent “Aunt Hagar” money to pay her expenses to Des Moines.97 Mrs. Allen died there one year later, and her body was returned to Lawrence for her funeral at St. Luke AME church and burial in potter’s field at Oak Hill Cemetery.98 92 See March 1885 Kansas census and marriage license issued to Robert Allen and Annie E. Penetione, Evening Tribune, June 3, 1885, as well as a ten-pound son born to Mr. and Mrs. Robert Allen, World, Nov. 24, 1894; and 1888 city directory for Robert Allen, a laborer, living at his parents’ home. 93 In Journal, see July 22 and Nov. 15, 1895 and July 25, 1885. 94 See Robert Allen’s application for parole, Lansing News, Apr. 7, 1911. 95 For example, see Missouri death certificate for Robert Allen, born July 29, 1867, who died in 1937 with no obituary, https://www.findagrave.com/memorial/108469619/robert-allen, and an obituary for “Mrs. Robert Allen,” Kansas City (MO) Journal, Feb. 22, 1899. 96 See 1895 Kansas census; marriage license, Jeffersonian Gazette, Nov. 4, 1908; and 1910 US census for Mabel and Fred Stewart. 97 In “Lost Steady Boarder,” Sept. 18, 1916, the Gazette reported that Mrs. Allen had been living at the county poor home “for the past ten years,” even though 1909, 1911, and 1913 city directories list her residence at 1345 New York. 98 “Funeral of Hager Allen,” Gazette, Oct. 18, 1917. According to her internment record, she was buried on October 3, 1917 with location unknown. Therefore, her memorial marker is included with her husband Isaac in lot 1285. © Jeanne Klein 2022 �Albert “Shucks” Woods (1844-1894), lot 1396 Albert (Ab.) Woods (1844-1894), a short-statured man, was born enslaved on July 18, 1844 in Arkansas. Known by every man, woman, and child in Lawrence as “Shucks,” “he was a quiet, good-natured fellow and never meddled with other folks’ business,” although some folks considered him to be an “eccentric character.” Sometime during or after the Civil War, he had one arm shot off, but this disability did not interfere with or stop him from working energetically at various jobs around town. “He worked all the time and at anything that was offered him,” such as sawing wood, setting an example for younger generations.99 Among his many odd jobs, he cared for an old sorrel horse with a game leg that a white tailor gave him and also sold Newfoundland and Dalmatian (“coach”) dogs.100 Tragedy struck one evening in 1869 when the Woods’ “small shanty” at the corner of Vermont and 6th streets (near the county jail) was consumed by fire. His wife Lucretia (18471930) was out at time, but when she saw the flames from the roof, she rushed into the house and saved their four-year-old child Johnny. The family lost everything in the fire, but merchants and citizens quickly came to the family’s aid by donating money and provisions totaling $101.75 (or $2,229 in 2022 dollars). Within weeks, people raised a new house with a hearthstone for the family on north Kentucky street.101 (One year later, the Vermont street school at 610 Vermont would be built behind their home.) In 1873, Mr. and Mrs. Woods lost two children: 4-year-old Mary (May) (1869-1873) and 7-year-old Johnny (1866-1873). After Mary’s death from pneumonia on May 28, Johnny drowned in the Kansas (Kaw) River on June 26. While playing along the river with some other boys above the bridge, he got on a log that rolled him into the river and the swift current carried him away. He rose up four times, but there was no one nearby who could rescue him. Mary was buried in potter’s field, but apparently Johnny’s body was never found for a proper burial.102 Feeling the sting of his family’s poverty, Edward/Edwin (Ed) (1872-1889), the eldest son, joined the “Steal Drive Gang” at age 11 with other Black boys beginning in 1883. He and another boy stole fifteen new grain sacks from a wagon and then sold most sacks to Star Grocery for 10¢ each and other sacks to a boy to buy a knife and some dice. When Albert could not pay his son’s $31.50 fine ($398 in 2022 dollars), Ed was sent to the reform school. But he was arrested for two more thefts (a buffalo robe and four pairs of pants) and spent time in the reform school or the county jail. After serving a two-year term in the state penitentiary for breaking into a house, he was released in 1887 and began working for Carmean and Harbaugh at their livery stable, saving his earnings to support his parents. Then, two years later, his reckless Black friend, Bud Franklin, a one-armed bootlegger, shot him in the stomach through a glass door when Ed 99 Quotes in “’Shucks’ is Dead,” Journal-Tribune and Gazette, Sept. 22, 1894. Birth date in B. Jean Snedeger, Complete Tombstone Census of Douglas County, Kansas, vol. 1 (Lawrence: Douglas County Genealogical Society, 1987), 227. 100 In Journal, July 27, 1886 and May 8, 1891. 101 “Fire,” Journal, Nov. 21, 1869; “Thanks” and financial “Statement,” by W. S. Shotwell, Tribune, Nov. 24 and Dec. 1, 1869. Mr. Woods also received $4.00 from the city’s pauper account, Journal, Apr. 6, 1870. 102 “Drowned,” Journal, June 27, 1873; May in 1870 US census. Three other children were also buried in potter’s field: Martha Woods, age 7 months (1874), child of James and Alosia Woods; another Mary Woods, age 4-5 and George Woods, age 1 (parents unknown) who died in March 1876. �tried to retrieve his coat. Ed was carried to the bathhouse on Vermont street, examined by the coroner, and sent to his parents’ home. At the preliminary trial, Albert had to testify that his son died from a fatal pistol shot. After Edwin’s funeral, he was buried in Section 4 (grave 997) at Oak Hill Cemetery.103 Five year later in 1894, Albert “Shucks” Woods died from a physical “strain” that “paralyzed him and injured [his] vital parts.” After “a large number of friends” attended his funeral, he was buried in potter’s field at Oak Hill Cemetery.104 In 1901, Lucretia Woods married James Essex (1852-1933), a widowed farmer, and they lived at 1115 Indiana Street. Having joined the First Grand Independent Benevolent Society of Kansas, founded in Leavenworth in 1868, as a charter member, she and husband shared activities in Lawrence’s No. 2 lodge. As one of Lawrence’s earliest residents, Mrs. Essex attended an Old Settlers’ reunion in 1926 and died in 1930 at the age of 82. Her funeral was held at St. Luke AME church.105 Before her death, two of her older sons died from heartbreaking deaths: Albert “Little Shucks” Woods (1882-1906) died in a tragic train accident on the Santa Fe tracks, and Oscar A., known as “Hun,” (1886-1925) struggled with alcoholism and drowned in the Kansas (Kaw) River when he fell out of a skiff south of the dam.106 Daughter Alice (Mrs. Edward Howard) (1884-1936) died at her home (420 Michigan street) from a cerebral embolism (stroke), and Bert Woods (1879-1858) died in Kansas City, Missouri, where he had been working for many years.107 103 In Journal, “Petty Thieving,” Jan. 7, 1883, “Police Court,” Jan. 10, 1883; “A Gang of Juvenile Thieves,” Mar. 19, 1884; “District Court,” Nov. 12, 1885, “Fatal Shooting Scrape,” Apr. 28, 1889; “To the Reform School,” (Lawrence) Kansas Herald, Mar. 18, 1884; in Evening Tribune, “Edwin Woods Fatally Shot,” Apr. 29, 1889, funeral, Apr. 30, 1889, “The Preliminary [Trial],” May 1, 1889. Although there was some talk about lynching Franklin, “the excitement soon died out,” in “Saturday Night’s Murder,” Gazette, May 2, 1889. Bud Franklin was charged with second degree manslaughter and sentenced three to five years at the state penitentiary, in “The Verdict,” Evening Tribune, May 18, 1889. 104 Quoted in “’Shucks’ is Dead,” Journal-Tribune, Sept. 22 & 23, 1894. 105 Marriage license, Journal, Oct. 24, 1901; in LDJ-W, “Review Old Times,” May 8, 1926; her obituary, Jan. 3, 1930; buried in Section 4, grave 1693, although her grave marker reads “Died Jan 3, 1929,” https://www.findagrave.com/memorial/25938350/ lucretia-essex; James Essex obituary, October 5, 1933. 106 “Burial of “Shucks” Woods, Journal and Gazette, Aug. 8, 1906. Albert Jr. lies buried in Section 11, grave 15. Beginning in 1907, Oscar faced fines for petty crimes and drunkenness, in Journal, July 8, 1907, Apr. 27 & Nov. 8, 1909; in Gazette, May 19 & Sept. 14, 1910; in LDJ-W, “Kaw Gets Sunday Toll of Two Men,” July 20, funeral, Aug. 3, and “Card of Thanks,” Aug. 5, 1925. Oscar Wood [sic] lies buried in Section 11, Row B, grave 35. 107 “Mrs. Alice W. Howard,” LDJ-W, Oct. 27, 1936. She lies buried in Section 6, lot 167. Bert Woods lies buried in KCMO, see https://www.findagrave.com/memorial/ 39952232/bert-woods, although his birthplace is incorrect. �Randolph Morgan (1846-1871), lot 181 Randolph Morgan served briefly in Co. G, First KS Colored Volunteers/79th USCT.108 The 1865 Douglas County census listed him at age 19 born in 1846 in Arkansas. Only one news report explained his death at age 21 on October 20, 1871: SUFFERING.—Dr. Carl Neumann reports a case of intense suffering at the house of Randolph Morgan on Pennsylvania street. A colored man who lost an arm in the service of the Union is probably recovery; and his wife is also sick. They have no food or attendants. We trust the authorities will take this case in hand.109 108 109 See http://www.ksgenweb.org/archives/statewide/military/civilwar/adjutant/1col/g.html. Journal, Oct. 20, 1871. His wife’s first name is unknown. �Juda/Judy Shepherd (1812-1873), lot 223 General (Lee) Shepherd (1849-1877), lot 406 and Peter Shepherd (1857-1879), lot 492 Samuel B. Shepard (ca. 1810-1909) built the first log cabin courthouse in Independence, MO in 1827. He escaped to Lawrence in 1862 and survived Quantrill’s raid while working for R.W. Ludington.110 The 1865 census in Kanwaka Township listed Samuel Shepard (b. 1810 VA), age 55; his wife Juda Shepard (b. 1812 KY), age 53; son Lee L. Shepard (b. 1849 MO), age 49; and daughter Martha J. Shepard (b. 1851 MO), age 14.111 According to the 1870 census, Peter Shepard (b. 1857 KY), boarded with a white homeopathic physician and his family. No obituaries can be found for Juda, “General” Lee, or Peter Shepherd/Shepard.112 “Judy” Shepard died from breast cancer on December 3, 1873, despite this reported surgery: SURGICAL.—We were shown a few days since at Dr. Fesler’s office a large fatty tumor that Dr. F. had successfully removed from the breast of Mrs. Judy Shepard of this city. The operation was skillfully performed in the presence of Mr. Goss, Dr. Holmes and others on the 6th and the patient is doing well. It is proper to say her that the doctor has but recently located in Lawrence. He has enjoyed a large practice in Philadelphia and St. Louis. He has an office fitted up in good style with plates enough to form a perfect museum. In surgical instruments the doctor has everything. These combined with skill in handling will enable him to remove successfully any foreign substance that may intrude upon the human body.113 110 Samuel Shepard lies buried at Oak Hill Cemetery in old Section 5, lot 142 with his daughter Mattie (Shepard) Hamilton. For details, read https://www.findagrave.com/memorial/34282793/samuel-bailey-shepard. 111 See “African Americans in the 1865 Kansas Census (Douglas County)” by Debby Lowry and Judy Sweets (selfpublished, 2006), 41. 112 Their respective burials are listed in B. Jean Snedeger, Complete Tombstone Census of Douglas County, Kansas, vol. 1 (Lawrence: Douglas County Genealogical Society, 1987), 223, based on their interment records. 113 Quoted in Spirit of Kansas (Lawrence), Apr 19, 1873. No obituary has been found for her death. �Anna Strode (1846-1889), lot 1490 After her death from blood poisoning, Anna Strode was buried in potter’s field (lot 1490) at the city’s expense. The city paid for the burial permit and the opening and closing of her grave— likely because her husband Frank Strode was serving time at the state penitentiary in Lansing.114 She left seven children (ages 8-21).115 In late July 1883, Frank Strode was threatened with lynching at the jail for attempting to rape Major Theodore Wiseman’s 11-year-old daughter after breaking into the home.116 John Waller, Black editor of the Western Recorder, and Charley C. Thacher, white editor the local Herald, engaged in lengthy protracted debate, initially over a Kansas City Times article that recalled the 1882 lynchings and how the Strode case could trigger a race riot in Lawrence. In general, Waller argued that Black residents had lost patience with white oppressions, while Thacher continued to fan the flames with his racist biases about Black residents. In January 1884, John Waller and his law partner C.W. Mitchem defended Frank Strode. The jury found him guilty of burglary in the first degree within twenty minutes and Strode was sentenced to ten years in the state penitentiary. Waller affirmed, “We do not doubt that the community feels better to see a man sentenced according to the law than to disgrace the town by mob-law.”117 By 1890, Strode’s sentence had been reduced by two years with his time expiring in early February 1892.118 His actual release, death, and burial site remain unknown. After his sentencing, the Journal reported that Mrs. Strode was ill and “in very needy circumstances.” The family was “crowded into a little house” at the corner of Tennessee and 14th streets and did not “have the facilities to keep themselves comfortable during the cold winter.” Benevolent citizens were asked to contribute toward their welfare by contacting Marshal Prentice.119 114 Journal, Feb. 10 & 12, 1889. Ages in 1875, 1880, and 1885 censuses. 116 “Attempted Outrage!” Journal, July 31, 1883. 117 Western Recorder, Morning News, Journal, and WHJ, all dated Jan. 3, 1884. For details, see “Two More Threatened Lynchings, 1883” at https://www.blacklawrenceks.com/racist-violence. 118 “Record of Douglas County Prisoners in Lansing,” Journal, May 29, 1890. 119 “Deserving People,” Journal, Mar. 4, 1884. 115 �James W. Hoyt (1851-1898), lot 1298 James (Jim) Willard Hoyt (1851-1898), born in Missouri, was an aggressive African American politician who participated in city, county, and state Republican party politics through thick and thin. Although it is not known when he moved from Missouri and married, his wife Fannie (Blackburn) Hoyt (1858-1944), reportedly born in Missouri or Pittsburgh, Pennsylvania, came to Lawrence at an early age. She gave birth to their first child Corinne (Cora) in Lawrence in January 1875, and the family resided at 1009 New Jersey Street.120 Over the years, Mr. Hoyt held various jobs as a laborer (1883), a Pullman car porter (1887-88), a billiard saloon owner (1891-92), and a restaurant keeper (1893), despite crushing his foot and losing some toes under a railroad car in Kansas City in 1884.121 He also managed the local Eagles Base Ball Club and their competitions with the Kansas City Brown Stockings and Topeka Blue Stockings teams, performed in Queen Esther at the Bowersock Opera House, and chaired a grand picnic of Black folks at Shepherd’s grove, where civil rights activist Charles H. Langston spoke.122 Hoyt entered politics, beginning in 1878, as a Republican delegate for the southeastern Third Ward.123 In 1884, partisan tensions heightened when Democratic Governor George W. Glick wanted the state’s 1881 prohibition law re-submitted as a constitutional amendment. Although some Republicans favored re-submission, Hoyt aired his views in regard to an unknown circular: My attention has been recently called to a circular entitled “Some reasons why colored men should vote for re-submission,” to which my name is signed, in connection with others, [but] I can only speak for myself. As to the contents of this circular I know nothing. My name was signed without my knowledge or consent. And I have no sympathy whatever, with its sentiments. I believe it is intended to deceive and mislead, for I know of no intelligent colored man who favors the suggestion in it. Whatever I may have believed on this subject, the lying statements of this circular has caused me to think differently. I am, therefore, opposed to the views of this circular, and brand every statement made in it as false and untrue. And so far as advising colored men to vote for Geo. W. Glick, [where] his Democratic record is concerned, I would advise them to vote the Republican [ticket], headed by that gallant soldier and noble patriot, John A. Martin 120 For her birth place, see obituary for “Mrs. Fannie Hoyt,” LDJ-W, June 21, 1944 and the 1905 Kansas census. The 1865 Kansas census listed Fannie (age 8, born around 1857) and her parents, Washington and Lucinda Blackburn, as born in Missouri and living in Wakarusa Township; however, the birthdate on Fannie Hoyt’s Oak Hill grave marker in Section 15 reads, “September 14, 1864,” https://www.findagrave.com/memorial/ 22588918/fannie-hoyt. See Corinne Hoyt Eagleson, https://www.findagrave.com/memorial/ 125176258/corinne-eagleson. The first mention of James Hoyt appeared in (Lawrence) Republican Journal, Oct. 28, 1875, when he supported a white man for county commissioner. See address in 1883, 1889, and 1898 city directories. Like other paupers, the city paid for Fanny Hoyt’s groceries, “Council Proceedings,” Journal, Dec. 21, 1877. 121 See 1883, 1888, and 1893 city directories; in Evening Tribune, Dec. 5, 1884 & July 1, 1887; Gazette, July 24, 1891. He also sprained his ankle while stepping off a moving train, Gazette, Dec. 12, 1891. Years earlier, an unknown assailant shot him in the hip in Kansas City, Western Home Journal (Lawrence), July 17, 1879. 122 In Journal, Aug. 20, 1878 and July 31, August 14, August 19, September 9, 1886. The all-Black production of Queen Esther starred Alice Hayden, mother of George “Nash” Walker, Evening Tribune, May 28, 1884. 123 Third Ward delegate, Journal, Oct. 12, 1878; Evening Tribune, Sept. 26, 1885, June 25, 1886, Mar. 16, 1887. �[elected governor (1885-89)].124 Four years later, he argued for Black representation at state conventions as follows: Four conventions are soon to be held touching both state and national affairs. The election will be of unusual importance and highly interesting to party leaders. The selection of men to be placed in nomination is a question of the highest moment. There can be no question as to the class of white men selected. They will select their representative men; Men who cannot simply read and write, but men who are well posted in the science of our government. The same convention which will be composed principally of white men may select some colored delegates, thus having two races represented from which it is also to be inferred as characterizing the harmony of the races in the fight. In making their choice of colored men, the colored people ask the conventions to select our representative colored men; those that are best posted, and are able to reflect credit upon their race. The colored citizens have feelings, opinions and likes, not unlike our white citizens, and do not want colored men to be sent to conventions simply because they are colored, but because they are able to represent them. There is to be found among the colored people, as among the white people, a progressive element who think there might be some variation in the actions of the conventions at this juncture. Is this progressive element to be or is it not to be represented? I mean, in the conference of honors, why not consider the work and votes of this element as being of some advantage to the object of the conventions. Let us have a change. Jas. W. Hoyt125 Toward these ends, Hoyt became a delegate at state Republican conventions as an intermittent president of the Fred Douglass Club (January-June 1888, 1889, 1892, 1896).126 During the Republican primaries in fall 1889, Hoyt began to pressure Black voters as a forcible speaker. When a dispute arose over the selection of delegates for the Republican county convention, William Fry hit him with a club, rendering him unconscious.127 After this contested primary, the Daily Record supported H. S. Clarke, an independent white candidate for county sheriff.128 As “Col. Jim Hoyt” canvassed the Third Ward, the Republican Journal mocked him as “the king of the boodle bolters” for bribing any Black voter who considered bolting from the 124 Quoted in “A Reply,” Journal, Sept. 28, 1884. See “Re-submission,” (Lawrence) Daily Herald, June 5, 1884. Keep in the mind that during this time the two political parties held reverse views from today. The Grand Old Party (GOP) of Lincoln Republicans emancipated slaves while the Democratic Party supported Southern racism. 125 Quoted in “The Colored Voter. Shall He Have Representation in the Several Conventions?” Journal, Apr. 27, 1888. 126 Evening Tribune, Jan. 25 & 26, 1888; in Journal, Mar. 6, 1888, Apr. 19, May 16, & Nov. 17, 1889; June 16, 1896; Record, Feb. 6, 1890; Journal-Tribune, Feb. 29 & Mar. 1, 1892; World, Apr. 2, 1892 and June 23 & 25, 1896; Gazette, Apr. 25, 1895. 127 On September 21, 1889, three newspapers reported this story: “Brained at the Primaries,” Evening Tribune, Journal, and Gazette. 128 See rationales in “The Ticket,” Record, Oct. 3, 1889. �Republican party, while attacking Clarke with this malicious rhyme: “Sing a song of bolters, pocket full of rocks; buying up the voters everywhere in blocks; subsidizing bummers, men like Col. Jim, then decrying ‘boodle’ using men like him. Isn’t this a pretty sight for the voters’ eyes; they will cast their ballots where there are no flies.”129 (The Journal also raised the specter of the 1882 lynchings claiming that Clarke had “sanctioned” the hanging of Peter Vinegar, an innocent Black man, when his fellow bolter H. B. Asher was sheriff.130) In response, the Record defended Hoyt based on his “letters of commendation from Judge Thacher and Geo. J. Barker [white Republicans] testifying in the highest terms to his good qualities and fitness for the position.”131 “A Colored Citizen” also rebuffed the Journal’s tactics.132 Clarke won the sheriff election by a majority of 534 votes.133 In 1892, Hoyt’s stressful life took a turn for the worse as fights broke out among Black men at his saloon on Massachusetts street south of Pierson’s mill. After pleading guilty to disturbing the peace in February, Hoyt was fined $13.50 ($442 in 2022 dollars) for fighting with Tom Berry in May.134 Then in July, he was arrested for selling liquor without a license, fined $200 ($6,550) for violating the prohibition law, jailed for sixty days, and sentenced to work the rock pile.135 Yet white Republicans needed his services for the next county election, so they gathered 104 petitions from tax-payers for his release. After breaking rocks for 35 days (worth $46), paying $77 in court costs ($123 total or $4,028), and completing his jail sentence in September, the county commissioners released him in October.136 Yet over the ensuing years, several fines for drunk and disorderly behaviors, among other offenses, pushed Jim Hoyt further into poverty.137 Ironically, his eldest daughter Cora chose a relevant topic for her oration during high school commencement in 1893. She discussed the question “Is a Man Responsible for His Crimes?” based on her review of the novel Elsie Venner by Oliver Wendall Holmes Sr.138 Like Cora, Alta and Beatrice Hoyt would lead successful lives in Lawrence, while various crimes would haunt their brothers, Lloyd and George Hoyt.139 After enduring several months of illness without the ability to walk around town, James 129 Journal, Oct. 11, 12 (quote), & 15, 1889. Journal, Oct. 12, 1889; “Asher Again,” Record, Oct. 16, 1889. 131 Quoted in Record, Oct. 16, 1889. 132 “Good Sense,” letter to editor, Record, Oct. 17, 1889. 133 Official count, Record, Nov. 8, 1889. 134 Journal-Tribune, Feb. 8 and May 2, 1892; Record, Feb. 15, 1892. Jess Harper, the son of his Black political colleague Bill Harper, bruised him on the forehead in another altercation involving revolvers, stones, and knives, Record and Journal-Tribune, June 15, 1892; World, June 16, 1892. 135 In World, July 26 and “Jim Hoyt on the Rock Pile,” July 29, 1892. 136 “Jim Is Out,” Record and “County Commissioners,” Journal-Tribune, Oct. 12, 1892; World, Oct. 13, 1892. 137 Fined $7, World, Mar. 7, 1893 and “Hard on Jim,” Feb. 28, 1895; $11.50, Gazette, May 28, 1894; $11.50, Journal-Tribune, July 17, 1896. After working one day as a peace officer with other Black men when fights broke out at Bismarck Grove, Hoyt paid an $18 fine for impersonating a police officer, in Journal-Tribune, “Deputies Driven Off,” June 28, 1895 and “Jim Hoyt in Court,” July 12, 1895. He also spent 100 days in a Kansas City workhouse for vagrancy and theft, World and Journal-Tribune, Aug. 28, 1896. See also “Courts,” Journal-Tribune June 16, 1896. 138 Commencement, World, May 25, 1893; on this novel, see https://en.wikipedia.org/wiki/Elsie_Venner. 139 For example, Beatrice was one of “Five Jolly” girls who celebrated a KU student, World, June 5, 1905. Lloyd plead guilty for trespassing on Santa Fe railroad property, “In the Courts,“ Journal-Tribune Aug. 14, 1895, and George plead guilty for stealing some grain sacks, Gazette, Aug. 27, 1909. 130 �W. Hoyt, age 47, died of heart failure and dropsy in 1898. The Journal now characterized him as a “well-known Negro politician [who] always took a great interest in republican politics, attended every convention he could, and was looked upon as having considerable influence among the members of his race.” The Gazette (formerly the Record) gave him higher honors by noting that “The republican party of Douglas county has sustained a severe loss in the death of that distinguished politician, the Hon. James Hoyt.” After his funeral at St. Luke AME Church, he was buried in potter’s field at Oak Hill Cemetery.140 One wonders how Mrs. Fannie Hoyt bore her family’s trials and tribulations, including the loss of three infants Fannie (1886), William (1888), and Jennie (1894) who were also buried in potter’s field.141 Years later, she endured “two mild cases of smallpox” when her home at 1009 New Jersey street was quarantined, and she accidently cut off the tip of one finger.142 As a long-time member of St. Luke AME church for at least 70 years, her trusting faith in God likely offered some solace. Upon her death in 1944, five children survived her: Corinne (Cora) (Hoyt) Eagleson, Kansas City, MO; Arnetta (Hoyt) Brown, Beatrice (Hoyt) James, James W. Hoyt Jr., and George Hoyt, as well as two grandchildren, Corinne and Odessa James, whom she raised (the latter family members lived in Los Angeles).143 140 “Jim Hoyt Dead,” Journal and World, Dec. 3, 1898; Gazette, Dec. 8, 1898. Fannie, age 18 days, lies buried in lot 1419; brief death notices for William (lot unknown), Journal, Jan. 26, 1888 and Jennie, age 6 months, buried in lot 1118, Gazette, Aug. 15, 1894. 142 Respectively, Journal, June 2, 1901; World, July 24, 1906. 143 “Mrs. Fannie Hoyt,” obituary, Lawrence Daily Journal-World, June 21, 1944. 141 © Jeanne Klein 2022 �Alex Clayton (1843-1872) and 3 children, lot 187 The 1870 census for the 3rd Ward listed the Clayton family as follows: John (b. 1843 KY), age 27, laborer; Polly Ann (b. 1844 AR), age 26, keeping house; Charles (b. 1860 AR), age 10; Jefferson (b. 1866 KS), age 4; and Franklin (b. 1869 KS), age 1.144 In March 1872, an early morning fire at their brick home, located at the corner of New Jersey street and 12th street, took the lives of (John) Alexander, a plasterer (age 35), and his three children: Charles (age 14), Jeffy (age 5), and Frank (age 2½).145 Their heavily charred bodies were buried in one coffin in lot 187 at Oak Hill potter’s field. (An 11-month-old female infant, who died the following day, was buried in lot 188.)146 The city paid undertakers $14 (respectively $8 & $6) ($362 in 2025 dollars) from its pauper account.147 The Tribune called on citizens “to improve this opportunity by our deeds of charity to lighten the burdens of an unfortunate and distressed fellow being.”148 Two people donated money to care for Mrs. Clayton who was severely burned with another infant: Jenny (Susan) Gladden, a Black mother, offered $18 ($12 allowed) and R. G. Verton (white?) donated $30 ($20 allowed). The city renumerated them a total of $32 ($828).149 Although it was thought that Mrs. Clayton “may possibly survive,” no further news reported the final outcome of her condition.150 It is not known whether she stayed in Lawrence or left town. *** Heartrending Incident. A Father and his three children burned to death. The Mother Fatally Burned. Kansas Daily Tribune, March 22, 1872 Yesterday morning at about half past one o’clock, a brick dwelling house on New Jersey Street, south of Hancock [12th] Street in this city, owned by a colored plasterer, named Sandy Clayton, was totally burned; and he and three of his children perished in the flames. His wife and her little [female] child, aged about ten months, escaped from the house but were severely burned. Our reporter gathered the following particulars: On Wednesday evening Mr. and Mrs. Clayton attended church, and on their return home between ten and eleven, discovered that there was a slight smell of smoke in their house. They 144 See John Clayton, (col’d), mason, res. cor. New Jersey and Hancock in 1871 city directory. “Heartrending Incident,” Tribune, Mar. 22, 1872; “A Terrible Calamity,” (Lawrence) Spirit of Kansas, Mar. 23, 1872. 146 “Death,” Tribune, Mar. 23, 1872. The names Alexander, Chas., Jeff., and two children of Alex. are listed from interment records in B. Jean Snedeger, Complete Tombstone Census of Douglas County, Kansas, vol. 1 (Lawrence: Douglas County Genealogical Society, 1987), 210. 147 Bailey & Smith undertakers in city records. 148 Quoted in “A Work of Charity,” Tribune, Mar. 23, 1872, with a description of the home’s remaining brick walls. 149 Claims allowed in “Council Proceedings,” Tribune, Apr. 5, 1872. 150 Mrs. Clayton, Western Home Journal (Lawrence), Mar. 28, 1872. See also “A Card,” Tribune, Mar. 26, 1872, in which three neighbors (1 Black man and 2 white men) forcibly rejected a circulating rumor that a German man made a racist remark about Mr. Clayton. 145 �made [a] diligent search in every corner but failed to find any source from which smoke could come and concluded that their apprehensions were groundless. They went to bed with perfectly easy minds. The account of what followed is gathered from Mrs. Clayton herself. She says that between one and two o’clock in the morning, her husband woke up, shouting that the house was on fire. She was roused from sleep and became conscious that the house was on fire, the room in the upper part of the building in which all the family slept being filled with smoke and the light of the fire from the room below clearly bursting in upon them. The children were awakened, and Mrs. Clayton hurriedly took up her youngest child, a babe about ten months old, and started downstairs. In gaining the lower room, and when near the door, she fell and dropped her child and scramble out into the open air. She at once re-entered the house, however, and picked up her child and brought it out. She says that when she left the room in which the family slept, her husband started to follow her, with another of the children in his arms, but one of the children was crying out at the time he turned back. After reaching the open air, Mrs. Clayton looked for her husband every moment. She waited a few seconds but he did not come out. By this time the building was almost completely enveloped in flames. Seeing that her husband did not come out, she looked up at the window of the bedroom and caught a glimpse of him, and immediately afterwards, saw him fall and disappear, as the floor of the second story fell in. Mrs. Clayton then went to the nearest house and gave the alarm. All that we have related happened before anyone came upon the ground. Pretty soon, however, several persons appeared on the ground, among whom was Mr. H. Luther, who was on his way home at the time, and who upon hearing that someone was in the burning house, with the assistance of a colored man, placed a plank up to one of the upper windows and climbed up to it. But the raging fire inside of the burning building really precluded all idea of entering. Later, after the fire had been somewhat subdued, the remains of Mr. Clayton, and that of three of his children, were found in the ruins, horribly charred. The three children were Charles, aged fourteen years, Jeffy, aged five years and Frank, two years and six months. In returning into the building for her child, Mrs. Clayton’s night dress caught fire, and before she could extinguish it, her lower limbs, arms and head were terribly burned, to such an extent, in fact, that yesterday afternoon she was not expected to live. Her little babe’s clothing also caught fire, and the poor little thing is also badly burned about the arms and face, but its injuries are not considered fatal. In the morning the remains were placed in a coffin and taken to the residence of Mr. [James?] Overton, a brother-in-law of the deceased. Mrs. Clayton and her child are also at Mr. Overton’s house, where she is receiving the best care. © Jeanne Klein 2022 �Joshua Jackson (1858-1873), lot 55 The 1870 census in the 6th Ward of North Lawrence listed Nathan (b. 1823 MO), his wife Caroline (b. 1832 TN), and seven children all born in Arkansas, including Joshua (b. 1858) and Charles (b. 1861). In July 1873, Joshua Jackson (age 16) drowned after diving into the Kaw River about a mile north of the bridge. His brother Charles (age 9) waited to see if he would come up and then ran to alert their father Nathan, who searched in vain with neighbors. Joshua’s body was found the following day and the coroner’s jury positively identified his body.151 No funeral was reported. 151 “Drowned in the Kaw,” Tribune, July 8, 1873. �Henry McGee (1853-1886), lot 1188 Henry McGee, born enslaved in Missouri on December 10, 1853, came to Lawrence with his parents Joseph (1805 KY-1895) and Eliza (1830 VA-1896) and brother Robert (b. 1855 MO) by 1865.152 Nothing is known about his brief life, including his marriage to an unnamed woman. Even so, he was known as a “prominent” charter member of the Western Star Lodge, Knights of Pythias, organized in January 1884. He likely heard Paul P. Jones from Chicago speak about this masonic lodge during a festival at Ludington (Eldridge) Hall.153 Two years later, Henry McGee, “a most estimable man,” died from unknown causes on January 29, 1886. He left “a young wife, who mourns the loss of a loving husband, as his parents do of a dutiful son.” In lieu of an obituary, his fellow lodge members published the following: Resolved, That we will cherish with grateful memory the devoted life of our deceased co-laborer; Resolved, That we commend his zeal, his undaunted will and self-sacrificing spirit to members of this Lodge; Resolved, That we hereby tender the bereaved family and friends of our deceased brother our heart-felt sympathy, and pray that He, who tempers the wind to the shorn lamb, will give them songs of rejoicing in the night of their affliction.154 More is known about Henry’s brother Robert, who married Elizabeth “Bettie” Morgan in 1879. After Bettie’s death, he and his six children faced charges for various offenses (detailed elsewhere).156 Robert died from severe burns after trying to save a five-year-old child during a fire at 823 Delaware.157 Like his noble father, Clyde McGee died while trying to save his friend from drowning in the Kaw River.158 Sadly, other members of Henry’s family are also buried at potter’s field as follows: 155 McGee family Joseph (1805-1895) Eliza (1830-1896) Bettie (1857-1896) age 90 66 39 relations his father his mother Robert’s wife Lot # 1346 1344 1340 152 obituaries World, June 7, 1895 World, March 27, 1896 Journal, June 23, 1896 Henry’s birthdate in B. Jean Snedeger, Complete Tombstone Census of Douglas County, Kansas, vol. 1 (Lawrence: Douglas County Genealogical Society, 1987), 220; see also 1865 census in Wakarusa Township and 1880 Lawrence census in the 4th Ward. 153 In Evening Tribune, Jan. 11 & 17, 1884; officers, Jan. 12, 1886; in Journal, “K of P Festival,” Jan. 18, 1884; ice cream social at roller coaster park, Aug. 14, 1885. 154 Quoted in “Resolutions of Respect on the Death of Henry McGee,” Journal, Feb. 16, 1886. 155 “Marriage License,” Tribune, Aug. 8, 1879. 156 See 1895 and 1900 censuses. At age 18, Eugene died from pneumonia at the Topeka Reform School, World, Feb. 4, 1909. 157 “His Burns Prove Fatal,” LDJW, Aug. 30, 1911. Robert rests in Sec. 11, F39 and Goldie Estes (McGee) Simpson, lies in Sec. 11, H23 at Oak Hill Cemetery. 158 Democrat, July 23, 1925; Clyde rests in Sec. 8, grave 229. © Jeanne Klein, 2025 �Harry Reeves (1848-1894), lot 1404 Harry (Henry) Reeves, born enslaved in 1848 in Kentucky, was known as an industrious teamster. In the mid- to late-1880s, he lived at 823 & 825 Pennsylvania street before boarding at the home of Mrs. Mary Butler, a washerwoman, at 804 Connecticut by 1893.159 In February 1894, Reeves shot and killed Charles Drake (1859-1894) during a domestic dispute over Drake’s wife, Louisa (Butler) Drake, and his widowed mother-in-law Mary E. Butler.160 While severely wounded by Drake, Reeves told his story in the city jail as follows: “[Charles] Drake came to the house [at 804 Connecticut] between 7 and 7:30 p.m. just while Mrs. Butler and I were sitting at the table, and Mrs. Butler had just gotten up. Drake came in and began abusing and insulting the women. Finally he struck Mrs. Butler, knocked her down and fell on top of her. I then pulled him off and took away a revolver he had in his hand. He continued to scuffle and threw me upon the hot stove. He finally pulled another revolver and shot me twice. The first shot, I think, was the one that entered my bowels, passing around and lodging in the hip; the second [shot] went through my thigh. Drake then started for the door and we were both still scuffling, each having a revolver in hand. As he went out the door, he tried to shoot again and I struck at him with the revolver in my hand. Whether it went off or not I do not know, but I was defending myself and should probably have shot had I known what I was doing.”161 Mrs. Drake and Mrs. Butler told much the same stories. When Asst. Marshal Sam Jeans arrived first at the scene, he found Drake lying dead in the yard with a 38-caliber Smith & Wesson revolver in his hand. He had been fatally shot in the breast over the heart and in the stomach. Upon searching the house, officers found Reeves’ revolver in a black chest. Jeans announced, “That is the revolver that killed Charlie Drake” to which Reeves replied, “That is the gun, but what I did with it after the shooting I do not know.”162 Three days later, a coroner’s jury heard strong evidence from many witnesses that “a long and bitter feud” had existed between Drake and Reeves. While Reeves had lived at the Butler residence for some years, Drake felt certain that Reeves had interfered in his family affairs. The jury declared that Reeves had killed Drake in self-defense.163 When Reeves heard the news, he felt “overjoyed” and “confident of getting well”—but he died from his wounds one day later.164 159 His birth year is in the 1875 census while boarding with Mrs. Mary Dorsey; 1886, 1889, and 1893 city directories. 160 Charles Drake had married Louisa Butler on April 24, 1881 but he quarreled with her frequently. She had left him seven months ago and was trying to get a divorce. Mrs. Mary Butler, born in 1843 in Kentucky, used to sell liquor at her 804 Connecticut home, in “A Joint Raided,” Evening Tribune, Aug. 27, 1888. See 1865, 1870, and 1875 census records; address in 1886, 1888, and 1893 city directories. 161 Quoted in “A Man Killed…Charlie Drake the Victim,” Journal-Tribune, Feb. 6, 1894. 162 Quoted in “Shot Dead…Killed by Henry Reeves,” World, Feb. 6, 1894. Sam Jeans, a Black policeman, appointed Asst. Marshal, World, Sept, 12, 1893; then City Marshal for 5 months, Journal, Dec. 1, 1894; May 7, 1895. 163 “Fired in Self-Defense,” Gazette and “In Self Defense,” Journal-Tribune, Feb. 8, 1894. 164 “Reeves Dead,” Gazette, Feb. 9, 1894. His interment record reads “Harvy” Reeves, https://www.findagrave.com/ memorial/251877960/harvey-reeves. Charles Drake was buried at Maple Grove Cemetery, https://www.findagrave.com/memorial/245639818/charles-drake. �C.C. James, a prominent civil rights leader, was appointed administrator of Harry Reeves’ estate by the Probate Court.165 165 “Notice of Appointment,” Journal-Tribune, Feb. 17, 1894. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oak Hill Cemetery Subject The topic of the resource Oak Hill Cemetery (Lawrence, Kan.) Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Biographies of 30 African Americans buried in Potter’s Field at Oak Hill Cemetery Creator An entity primarily responsible for making the resource Klein, Jeanne Description An account of the resource A series of biographical sketches of African American individuals and families who are buried in the Oak Hill Cemetery Potter's Field in Lawrence, Kansas. Contributor An entity responsible for making contributions to the resource NAACP Lawrence Branch #4045 (Lawrence, Kan.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lawrence (Kan.) Date A point or period of time associated with an event in the lifecycle of the resource 2026 Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource eng Publisher An entity responsible for making the resource available NAACP Lawrence Branch #4045 (Lawrence, Kan.) Rights Information about rights held in and over the resource Copyright Jeanne Klein, 2026. Please contact the copyright holder for permission to use this item. The item may also be subject to rights of privacy, rights of publicity and other restrictions. Subject The topic of the resource Allen, Hagar (1834-1917) Allen, Isaac (1820-1902) Allen, Israel (1859-1904) Allen, Robert (1867-?) Allen, William (1863-1883) Alexander, Cora Thurston (b. 1876) Anthony, Lettie A. (1865-1883) Bradley, Brazil (1866-1891) Bradley, Elias L. (1819-1896) Bradley, Elmore (1861-1889) Bradley, Frances E. Mumford (1845-1891) Bradley, Jennie (1875-1893) Clayton, Alex (1843-1872) Drake, Charles (1859-1894) Howard, Alice Woods (1884-1936) Hoyt, Fannie Blackburn (1858-1944) Hoyt, James W. (1851-1898) Jackson, Joshua (1858-1873) King, Isaac (1860-1882) McGee, Henry (1853-1886) Morgan, Randolph (1846-1871) Reeves, Harry (1848-1894) Shepherd, General (Lee) (1849-1877) Robertson, George (1863-1882) Shepherd, Juda/Judy (1812-1873) Shepherd, Peter (1857-1879) Shepard, Samuel B. (ca. 1810-1909) Stewart, Mabel Allen (1884-1928?) Strode, Anna (1846-1889) Strode, Frank Thurston, Alice (1880-?) Thurston, Ann Eliza (1863-1882) Thurston, Edward (1832-1908) Thurston, Maggie B. (1873-1887) Thurston, Sarah (1840-1885) Thurston, Ulysses (1869-1884) Thurston, Will (b. 1879) Vinegar, Eliza (1842-1873) Vinegar, Margaret “Sis” (1868?-1889?) Vinegar, Peter (1836-1882) Voorhees, Richard (1861-1883) Washington, Edward P. (1850-1883) Woods, Albert “Little Shucks” (1882-1906) Woods, Albert “Shucks” (1844-1894) Woods, Bert (1879-1858) Woods, Edward/Edwin (Ed) (1872-1889) Woods, Johnny (1866-1873) Woods, Lucretia (1847-1930) Woods, Mary (May) (1869-1873) Woods, Oscar A. “Hun” (1886-1925) Type The nature or genre of the resource Text